β
It isn't possible to love and part. You will wish that it was. You can transmute love, ignore it, muddle it, but you can never pull it out of you. I know by experience that the poets are right: love is eternal.
β
β
E.M. Forster (A Room with a View)
β
Spoon feeding in the long run teaches us nothing but the shape of the spoon.
β
β
E.M. Forster
β
How do I know what I think until I see what I say?
β
β
E.M. Forster
β
I suggest that the only books that influence us are those for which we are ready, and which have gone a little further down our particular path than we have yet gone ourselves.
β
β
E.M. Forster
β
We must be willing to let go of the life we have planned, so as to have the life that is waiting for us.
β
β
E.M. Forster
β
When I think of what life is, and how seldom love is answered by love; it is one of the moments for which the world was made.
β
β
E.M. Forster (A Room with a View)
β
Life is easy to chronicle, but bewildering to practice.
β
β
E.M. Forster (A Room With A View)
β
We cast a shadow on something wherever we stand, and it is no good moving from place to place to save things; because the shadow always follows. Choose a place where you won't do harm - yes, choose a place where you won't do very much harm, and stand in it for all you are worth, facing the sunshine.
β
β
E.M. Forster (A Room with a View)
β
If I had to choose between betraying my country and betraying my friend, I hope I should have the guts to betray my country.
β
β
E.M. Forster (What I Believe and Other Essays)
β
You confuse what's important with what's impressive.
β
β
E.M. Forster (Maurice)
β
Let yourself go. Pull out from the depths those thoughts that you do not understand, and spread them out in the sunlight and know the meaning of them.
β
β
E.M. Forster (A Room with a View)
β
I am an unspeakable of the Oscar Wilde sort.
β
β
E.M. Forster (Maurice)
β
Long books, when read, are usually overpraised, because the reader wishes to convince others and himself that he has not wasted his time.
β
β
E.M. Forster (Aspects of the Novel)
β
Adventures do occur, but not punctually.
β
β
E.M. Forster (A Passage to India)
β
Mistrust all enterprises that require new clothes.
β
β
E.M. Forster (A Room with a View)
β
This desire to govern a womanβit lies very deep, and men and women must fight it together.... But I do love you surely in a better way than he does." He thought. "Yesβreally in a better way. I want you to have your own thoughts even when I hold you in my arms.
β
β
E.M. Forster (A Room with a View)
β
Life' wrote a friend of mine, 'is a public performance on the violin, in which you must learn the instrument as you go along.
β
β
E.M. Forster (A Room with a View)
β
It is fate that I am here,' George persisted, 'but you can call it Italy if it makes you less unhappy.
β
β
E.M. Forster (A Room with a View)
β
You do care a little for me, I know... but nothing to speak of, and you don't love me. I was yours once till death if you'd cared to keep me, but I'm someone else's now... and he's mine in a way that shocks you, but why don't you stop being shocked, and attend to your own happiness.
β
β
E.M. Forster (Maurice)
β
After all, is not a real Hell better than a manufactured Heaven?
β
β
E.M. Forster (Maurice)
β
Life never gives us what we want at the moment that we consider appropriate.
β
β
E.M. Forster (A Passage to India)
β
Did you ever dream you had a friend, Alec? Someone to last your whole life and you his. I suppose such a thing canβt really happen outside sleep.
β
β
E.M. Forster (Maurice)
β
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.
β
β
E.M. Forster (Howards End)
β
I won't be protected. I will choose for myself what is ladylike and right. To shield me is an insult.
β
β
E.M. Forster
β
It is so difficult - at least, I find it difficult - to understand people who speak the truth.
β
β
E.M. Forster (A Room with a View)
β
Only connect!
β
β
E.M. Forster (Howards End)
β
By the side of the everlasting Why there is a Yes--a transitory Yes if you like, but a Yes.
β
β
E.M. Forster (A Room with a View)
β
The main facts in human life are five: birth, food, sleep, love and death.
β
β
E.M. Forster
β
A happy ending was imperative. I shouldn't have bothered to write otherwise. I was determined that in fiction anyway two men should fall in love and remain in it for the ever and ever that fiction allows, and in this sense, Maurice and Alec still roam the greenwood.
β
β
E.M. Forster (Maurice)
β
Death destroys a man: the idea of Death saves him.
β
β
E.M. Forster (Howards End)
β
I think youβre beautiful, the only beautiful person Iβve ever seen. I love your voice and everything to do with you, down to your clothes or the room you are sitting in. I adore you.
β
β
E.M. Forster (Maurice)
β
Life never gives us what we want at the moment that we consider appropriate. Adventures do occur, but not punctually.
β
β
E.M. Forster (A Passage to India)
β
Only connect! That was the whole of her sermon. Only connect the prose and the passion, and both will be exalted, and human love will be seen at its height. Live in fragments no longer.
β
β
E.M. Forster (Howards End)
β
She could not explain in so many words, but she felt that those who prepare for all the emergencies of life beforehand may equip themselves at the expense of joy.
β
β
E.M. Forster (Howard's End)
β
It comes to this then: there always have been people like me and always will be, and generally they have been persecuted.
β
β
E.M. Forster (Maurice)
β
What is wonderful about great literature is that it transforms the man who reads it towards the condition of the man who wrote.
β
β
E.M. Forster (Two Cheers for Democracy)
β
The armour of falsehood is subtly wrought out of darkness, and hides a man not only from others, but from his own soul.
β
β
E.M. Forster (A Room with a View)
β
I taught him, 'he quavered, "to trust in love. I said:'when love comes, that is reality.' I said: 'Passion does not blind. No. Passion is sanity, and the woman you love, she is the only person you will ever really understand.
β
β
E.M. Forster (A Room with a View)
β
She stopped and leant her elbows against the parapet of the embankment. He did likewise. There is at times a magic in identity of position; it is one of the things that have suggested to us eternal comradeship.
β
β
E.M. Forster (A Room with a View)
β
While her lips talked culture, her heart was planning to invite him to tea
β
β
E.M. Forster (Howards End)
β
I cannot help thinking that there is something to admire in everyone, even if you do not approve of them.
β
β
E.M. Forster
β
Passion does not blind. No. Passion is sanity, and the woman you love, she is the only person you will ever really understand.
β
β
E.M. Forster
β
... there are shadows because there are hills.
β
β
E.M. Forster (A Room with a View)
β
Have you ever noticed that there are people who do things which are most indelicate, and yet at the same time - beautiful?
β
β
E.M. Forster
β
The house was very quiet, and the fogβwe are in November nowβpressed against the windows like an excluded ghost.
β
β
E.M. Forster (Howards End)
β
I swear from the bottom of my heart I want to be healed. I want to be like other men, not this outcast whom nobody wants.
β
β
E.M. Forster (Maurice)
β
I believe in teaching people to be individuals, and to understand other individuals.
β
β
E.M. Forster (A Passage to India)
β
Because I say so little you think I don't feel. I care a lot.
β
β
E.M. Forster (Maurice)
β
It's not what people do to you, but what they mean, that hurts.
β
β
E.M. Forster (The Longest Journey)
β
Works of art, in my opinion, are the only objects in the material universe to possess internal order, and that is why, though I don't believe that only art matters, I do believe in Art for Art's sake.
β
β
E.M. Forster
β
No, he is not tactful, yet have you ever noticed that there are people who do things which are most indelicate, and yet, at the same time, beautiful?
β
β
E.M. Forster (A Room with a View)
β
If we act the truth the people who really love us are sure to come back to us in the long run
β
β
E.M. Forster
β
Do we find happiness so often that we should turn it off the box when it happens to sit there?
β
β
E.M. Forster (A Room with a View)
β
There's enough sorrow in the world, isn't there, without trying to invent it.
β
β
E.M. Forster
β
Passion should believe itself irresistible. It should forget civility and consideration and all the other curses of a refined nature. Above all, it should never ask for leave where there is a right of way.
β
β
E.M. Forster (A Room with a View)
β
A humanist has four leading characteristics - curiosity, a free mind, belief in good taste, and belief in the human race.
β
β
E.M. Forster
β
She only felt that the candle would burn better, the packing go easier, the world be happier, if she could give and receive some human love.
β
β
E.M. Forster (A Room with a View)
β
When we were only acquaintances, you let me be myself, but now you're always protecting me... I won't be protected. I will choose for myself what is ladylike and right. To shield me is an insult. Can't I be trusted to face the truth but I must get it second-hand through you? A woman's place!
β
β
E.M. Forster (A Room with a View)
β
At times our need for a sympathetic gesture is so great that we care not what exactly it signifies or how much we may have to pay for it afterwards.
β
β
E.M. Forster (A Room with a View)
β
All a child's life depends on the ideal it has of its parents. Destroy that and everything goes - morals, behavior, everything. Absolute trust in someone else is the essence of education.
β
β
E.M. Forster (Where Angels Fear to Tread)
β
One doesn't come to Italy for niceness," was the retort; "one comes for life. Buon giorno! Buon giorno!
β
β
E.M. Forster (A Room with a View)
β
Books have to be read (worse luck it takes so long a time). It is the only way of discovering what they contain. A few savage tribes eat them, but reading is the only method of assimilation revealed to the West.
β
β
E.M. Forster
β
I do like Christmas on the whole.... In its clumsy way, it does approach Peace and Goodwill. But it is clumsier every year.
β
β
E.M. Forster
β
Don't go fighting against the Spring.
β
β
E.M. Forster (A Room with a View)
β
There has been, is, and always will be every conceivable type of person. Β
β
β
E.M. Forster (Maurice)
β
I have almost completed a long novel, but it is unpublishable until my death and England's.
β
β
E.M. Forster
β
...though nothing is damaged, everything is changed.
β
β
E.M. Forster (A Room with a View)
β
But it struck him that people are not really dead until they are felt to be dead. As long as there is some misunderstanding about them, they possess a sort of immortality.
β
β
E.M. Forster (A Passage to India)
β
I seem fated to pass through the world without colliding with it or moving it β and I'm sure I can't tell you whether the fate's good or evil. I don't die β I don't fall in love. And if other people die or fall in love they always do it when I'm just not there.
β
β
E.M. Forster (Where Angels Fear to Tread)
β
Of course he despised the world as a whole; every thoughtful man should; it is almost a test of refinement.
β
β
E.M. Forster (A Room with a View)
β
Don't be mysterious; there isn't the time.
β
β
E.M. Forster (Where Angels Fear to Tread)
β
A funeral is not death, any more than baptism is birth or marriage union. All three are the clumsy devices, coming now too late, now too early, by which Society would register the quick motions of man.
β
β
E.M. Forster (Howards End)
β
Sometimes I think too much fuss is made about marriage. Century after century of carnal embracement and we're still no nearer to understanding one another.
β
β
E.M. Forster (A Passage to India)
β
The crime of suicide lies rather in its disregard for the feelings of those whom we leave behind.
β
β
E.M. Forster (Howards End)
β
When you come back you will not be you. And I may not be I.
β
β
E.M. Forster (The Life to Come and Other Stories)
β
Words deserted him immediately. He could only speak when he was not asked to.
β
β
E.M. Forster (Maurice)
β
... And now we shan't be parted no more, and that's finished.
β
β
E.M. Forster (Maurice)
β
I'd far rather leave a thought behind me than a child. Other people can have children.
β
β
E.M. Forster (A Passage to India)
β
To trust people is a luxury in which only the wealthy can indulge; the poor cannot afford it.
β
β
E.M. Forster (Howards End)
β
Nature pulls one way and human nature another.
β
β
E.M. Forster
β
I am sure that if the mothers of various nations could meet, there would be no more wars.
β
β
E.M. Forster (Howards End)
β
Why children?' he asked. 'Why always children? For love to end where it begins is far more beautiful, and Nature knows it.
β
β
E.M. Forster (Maurice)
β
At times he entertained the dream. Two men can defy the world.
β
β
E.M. Forster (Maurice)
β
I was yours once 'till death if you'd cared to keep me, but I'm someone else's now - I can't hang about whining forever - and he's mine in a way that shocks you, but why don't you stop being shocked, and attend to your own happiness?
β
β
E.M. Forster (Maurice)
β
He knew that loneliness was poisoning him, so that he grew viler as well as more unhappy.
β
β
E.M. Forster (Maurice)
β
The advance of regret can be so gradual that it is impossible to say "yesterday I was happy, today I am not.
β
β
E.M. Forster (Where Angels Fear to Tread)
β
I was determined that in fiction anyway two men should fall in love and remain in it for the ever and ever that fiction allows.
β
β
E.M. Forster
β
You told me once that we shall be judged by our intentions, not by our accomplishments. I thought it a grand remark. But we must intend to accomplishβnot sit intending on a chair.
β
β
E.M. Forster (Where Angels Fear to Tread)
β
I suppose I shall have to live now
β
β
E.M. Forster (A Room with a View)
β
It isnβt possible to love and to part. You will wish that it was. You can transmute love, ignore it, muddle it, but you can never pull it out of you. I know by experience that the poets are right: love is eternal.
β
β
E.M. Forster (A Room with a View)
β
A work of art is never finished. It is merely abandoned.
β
β
E.M. Forster
β
All men are equal - all men, that is, who possess umbrellas.
β
β
E.M. Forster (Howards End)
β
Nothing's the same for anyone. That's why life's this Hell, if you do a thing you're damned, and if you don't you're damned . . . .
β
β
E.M. Forster (Maurice)
β
Then she lay on her back and gazed at the cloudless sky. Mr. Beebe, whose opinion of her rose daily, whispered to his niece that that was the proper way to behave if any little thing went wrong.
β
β
E.M. Forster (A Room with a View)
β
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.
β
β
E.M. Forster (Howards End)
β
I knew you read the Symposium in the vac," he said in a low voice.
Maurice felt uneasy.
"Then you understand - without me saying more - "
"How do you mean?"
Durham could not wait. People were all around them, but with eyes that had gone intensely blue he whispered, "I love you.
β
β
E.M. Forster (Maurice)
β
I should have gone through life half awake if you'd had the decency to leave me alone. Awake intellectually, yes, and emotionally in a way; but here--" He pointed with his pipe stem to his heart; and both smiled. "Perhaps we woke up one another. I like to think that anyway.
β
β
E.M. Forster
β
The tragedy of preparedness has scarcely been handled, save by the Greeks. Life is indeed dangerous, but not in the way morality would have us believe. It is indeed unmanageable, but the essence of it is not a battle. It is unmanageable because it is a romance, and its essence is romantic beauty.
β
β
E.M. Forster (Howards End)
β
She would only point out the salvation that was latent in his own soul, and in the soul of every man. Only connect! That was the whole of her sermon. Only connect the prose and the passion, and both will be exalted, and human love will be seen at its height. Live in fragments no longer.
β
β
E.M. Forster (Howards End)
β
Excuse my mistakes, realize my limitations. Life is not easy as we know it on the earth.
β
β
E.M. Forster (A Passage to India)
β
We move between two darknesses.
β
β
E.M. Forster (Aspects of the Novel)
β
Though life is very glorious, it is difficult.
β
β
E.M. Forster (A Room with a View / Howards End)
β
It makes a difference, doesn't it, whether we fence ourselves in, or whether we are fenced out by the barriers of others?
β
β
E.M. Forster (A Room with a View)
β
You talk as if a god had made the Machine," cried the other. "I believe that you pray to it when you are unhappy. Men made it, do not forget that. Great men, but men. The Machine is much, but not everything.
β
β
E.M. Forster (The Machine Stops)
β
There was something better in life than this rubΒbish, if only he could get to itβloveβnobilityβbig spaces where passion clasped peace, spaces no science could reach, but they existed for ever, full of woods some of them, and arched with majestic sky and a friend. . .
β
β
E.M. Forster (Maurice)
β
You can when you mean to,' said Maurice gently. 'You can do anything once you know what it is.
β
β
E.M. Forster (Maurice)
β
He educated Maurice, or rather his spirit educated Maurice's spirit, for they themselves became equal. Neither thought "Am I led; am I leading?" Love had caught him out of triviality and Maurice out of bewilderment in order that two imperfect souls might touch perfection.
β
β
E.M. Forster (Maurice)
β
She must be assured that it is not a criminal offense to love at first sight.
β
β
E.M. Forster (Howards End)
β
Take an old man's word; there's nothing worse than a muddle in all the world. 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 the things that I might have avoided. We can help one another but little. I used to think I could teach young people the whole of life, but I know better now, and all my teaching of George has come down to this: beware of muddle.
β
β
E.M. Forster (A Room with a View)
β
When love flies it is remembered not as love but as something else. Blessed are the uneducated, who forget it entirely, and are never conscious of folly or pruriency in the past, of long aimless conversations.
β
β
E.M. Forster (Maurice)
β
They cared for no one, they were outside humanity, and death, had it come, would only have continued their pursuit of a retreating horizon.
β
β
E.M. Forster (Maurice)
β
One doesn't come to Italy for niceness, one comes for life!
β
β
E.M. Forster (A Room with a View)
β
Science explained people, but could not understand them.
β
β
E.M. Forster (Howards End)
β
One person with passion is better than forty people merely interested.
β
β
E.M. Forster
β
When love flies it is remembered not as love but as something else.
β
β
E.M. Forster (Maurice)
β
They had never struggled, and only a struggle twists sentimentality and lust together into love.
β
β
E.M. Forster (Maurice)
β
He had awoken too late for happiness, but not for strength, and could feel an austere joy, as of a warrior who is homeless but stands fully armed.
β
β
E.M. Forster (Maurice)
β
Love felt and returned, love which our bodies exact and our hearts have transfigured, love which is the most real thing that we shall ever meet, reappeared now as the world's enemy, and she must stifle it.
β
β
E.M. Forster (A Room with a View)
β
My father says that there is only one perfect view β the view of the sky straight over our heads, and that all these views on earth are but bungled copies of it.
β
β
E.M. Forster (A Room with a View)
β
England has always been disinclined to accept human nature.
β
β
E.M. Forster (Maurice)
β
Maurice and Alec still roam the greenwood.
β
β
E.M. Forster (Maurice)
β
The kingdom of music is not the kingdom of this world; it will accept those whom breeding and intellect and culture have alike rejected. The commonplace person begins to play, and shoots into the empyrean without effort, whilst we look up, marvelling how he has escaped us, and thinking how we could worship him and love him, would he but translate his visions into human words, and his experiences into human actions. Perhaps he cannot; certainly he does not, or does so very seldom.
β
β
E.M. Forster (A Room with a View)
β
People have their own deaths as well as their own lives, and even if there is nothing beyond death, we shall differ in our nothingness.
β
β
E.M. Forster (Howards End)
β
Expansion. That is the idea the novelist must cling to. Not completion. Not rounding off, but opening out.
β
β
E.M. Forster (Aspects of the Novel)
β
The ends of the earth, the depths of the sea, the darkness of time, you have chosen all three.
β
β
E.M. Forster
β
It was not that ladies were inferior to men; it was that they were different. Their mission was to inspire others to achievement rather than to achieve themselves. Indirectly, by means of tact and a spotless name, a lady could accomplish much. But if she rushed into the fray herself she would be first censured, then despised, and finally ignored.
β
β
E.M. Forster (A Room with a View)
β
Do you suppose there's any difference between spring in nature and spring in man? But there we go, praising the one and condemning the other as improper, ashamed that the same laws work eternally through both.
β
β
E.M. Forster (A Room with a View)
β
I believe in aristocracy, though -- if that is the right word, and if a democrat may use it. Not an aristocracy of power, based upon rank and influence, but an aristocracy of the sensitive, the considerate and the plucky. Its members are to be found in all nations and classes, and all through the ages, and there is a secreat understanding between them when they meet. They represent the true human tradition, the one permanent victory of our queer race over cruelty and chaos. Thousands of them perish in obscurity, a few are great names. They are sensitive for others as well as themselves, they are considerate without being fussy, their pluck is not swankiness but power to endure, and they can take a joke.
β
β
E.M. Forster (Two Cheers for Democracy)
β
We are not concerned with the very poor. They are unthinkable, and only to be approached by the statistician or the poet.
β
β
E.M. Forster
β
I am a Jane Austenite, and therefore slightly imbecile about Jane Austen. My fatuous expression, and airs of personal immunityβhow ill they sit on the face, say, of a Stevensonian! But Jane Austen is so different. She is my favourite author! I read and reread, the mouth open and the mind closed. Shut up in measureless content, I greet her by the name of most kind hostess, while criticism slumbers.
β
β
E.M. Forster
β
If Miss Honeychurch ever takes to live as she plays, it will be very exciting--both for us and for her.
β
β
E.M. Forster
β
One can tip too much as well as too little, indeed the coin that buys the exact truth has not yet been minted.
β
β
E.M. Forster (A Passage to India)
β
Does it seem reasonable that she should play so wonderfully, and live so quietly? I suspect that one day she will be wonderful in both. The water-tight compartments in her will break down, and music and life will mingle.
β
β
E.M. Forster (A Room with a View)
β
Most of life is so dull that there is nothing to be said about it, and the books and talk that would describe it as interesting are obliged to exaggerate, in the hope of justifying their own existence. Inside its cocoon of work or social obligation, the human spirit slumbers for the most part, registering the distinction between pleasure and pain, but not nearly as alert as we pretend. There are periods in the most thrilling day during which nothing happens, and though we continue to exclaim 'I do enjoy myself' or 'I am horrified' we are insincere. 'As far as I feel anything, it is enjoyment, horror' - it's no more than that really, and a perfectly adjusted organism would be silent.
β
β
E.M. Forster (A Passage to India)
β
There's never any great risk as long as you have money.
β
β
E.M. Forster (Howards End)
β
My conviction gains infinitely the moment another soul will believe in it.
β
β
E.M. Forster
β
But it was the stupidity of passion, which would rather have nothing than a little.
β
β
E.M. Forster (Maurice)
β
A slow nature such as Maurice's appears insensitive, for it needs time even to feel.
β
β
E.M. Forster (Maurice)
β
It's miles worse for you than that; I'm in love with your gamekeeper.
β
β
E.M. Forster (Maurice)
β
Aziz winked at him slowly and said: β...There are many ways of being a man; mine is to express what is deepest in my heart.
β
β
E.M. Forster (A Passage to India)
β
You mean that a Frenchman could share with a friend and yet not go to prison?β
βShare? Do you mean unite? If both are of age and avoid public indecency, certainly.β
βWill the law ever be that in England?β
βI doubt it. England has always been disinclined to accept human nature.
β
β
E.M. Forster (Maurice)
β
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 . . . .
β
β
E.M. Forster (Maurice)
β
There is only a certain amount of kindness in the worldβ¦just as there is a certain amount of light. We cast a shadow on something wherever we stand, and it is no good moving from place to place to save thingsβ¦Choose a place where you wonβt do very much harm and stand in it for all you are worth, facing the sunshine.
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E.M. Forster (A Room with a View)
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God has put us on earth to love our neighbors and to show it, and He is omnipresent, even in India, to see how we are succeeding.
β
β
E.M. Forster (A Passage to India)
β
It is easy to sympathize at a distance,' said an old gentleman with a beard. 'I value more the kind word that is spoken close to my ear.
β
β
E.M. Forster (A Passage to India)
β
But this time I'm not to blame; I want you to believe that. I simply slipped into those violets. No, I want to be really truthful. I am a little to blame. The sky, you know, was gold, and the ground all blue, and for a moment he looked like some one in a book.
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E.M. Forster (A Room with a View)
β
...for literature had always been a solace for him, something that the ugliness of facts could not spoil.
β
β
E.M. Forster (A Passage to India)
β
You can transmute love, ignore it, muddle it, but you can never pull it out of you.
β
β
E.M. Forster (A Room with a View)
β
The kingdom of music is not the kingdom of this world; it will accept
those whom breeding and intellect and culture have alike rejected.
β
β
E.M. Forster (A Room with a View)
β
We know that we come from the winds, and that we shall return to them; that all life is perhaps a knot, a tangle, a blemish in the eternal smoothness. But why should this make us unhappy? Let us love one another, and work and rejoice. I don't believe in this world sorrow.
β
β
E.M. Forster (A Room with a View)
β
Men were not gods after all, but as human and as clumsy as girls.
β
β
E.M. Forster (A Room with a View)
β
You care for me a little bit, I do think," he admitted, "but I can't hang all my life on a little bit. You don't. You hang yours on Anne. You don't worry whether your relation with her is platonic or not, you only know it's big enough to hang a life on.
β
β
E.M. Forster (Maurice)
β
It is impossible to foretell the future with any degree of accuracy, that it is impossible to rehearse life. A fault in the scenery, a face in the audience, an interruption of the audience on to the stage, and all our carefully planned gesture mean nothing, or mean too much.
β
β
E.M. Forster (A Room with a View)
β
What is the good of your stars and trees, your sunrise and the wind, if they do not enter into our daily lives? They have never entered into mine, but into yours, we thought--Haven't we all to struggle against life's daily greyness, against pettiness, against mechanical cheerfulness, against suspicion? I struggle by remembering my friends; others I have known by remembering some place--some beloved place or tree--we thought you one of these.
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β
E.M. Forster (Howards End)
β
Why can't we be friends now?" said the other, holding him affectionately. "It's what I want. It's what you want." But the horses didn't want it β they swerved apart: the earth didn't want it, sending up rocks through which riders must pass single file; the temple, the tank, the jail, the palace, the birds, the carrion, the Guest House, that came into view as they emerged from the gap and saw Mau beneath: they didn't want it, they said in their hundred voices "No, not yet," and the sky said "No, not there.
β
β
E.M. Forster (A Passage to India)
β
Italy and London are the only places where I don't feel to exist on sufferance.
β
β
E.M. Forster
β
As her time in Florence drew to a close she was only at ease amongst those to whom she felt indifferent.
β
β
E.M. Forster (A Room with a View)
β
It was unbearable, and he thought again, 'How unhappy I am!' and became happier.
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β
E.M. Forster (A Passage to India)
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I only wish the poets would say this too: love is of the body; not the body, but of the the body. Ah! the misery that would be saved if we confessed that! Ah! for a little directness to liberate the soul!
β
β
E.M. Forster (A Room with a View)
β
I have only got down on to paper, really, three types of people: the person I think I am, the people who irritate me, and the people I'd like to be.
β
β
E.M. Forster
β
She hated war and liked soldiersβit was one of her amiable inconsistencies.
β
β
E.M. Forster (Howards End)
β
Man can learn everything if he will but try.
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β
E.M. Forster (A Passage to India)
β
He lived on, miserable and misunderstood, as before, and increasingly lonely. One cannot write those words too often: Mauriceβs loneliness: it increased.
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β
E.M. Forster (Maurice)
β
The past is devoid of meaning like the present, and a refuge for cowards.
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β
E.M. Forster (Maurice)
β
He had known so much about her once -what she thought, how she felt, the reasons for her actions. And now he only knew that he loved her, and all the other knowledge seemed passing from him just as he needed it most.
β
β
E.M. Forster (Where Angels Fear to Tread)
β
Every man has somewhere about him some belief for which he'd die. Only isn't it improbable that your parents and guardians told it to you? If there is one won't it be part of your own flesh and spirit?
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E.M. Forster (Maurice)
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What does unhappiness matter when we are all unhappy together?
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E.M. Forster (A Passage to India)
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To make us feel small in the right way is a function of art.
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β
E.M. Forster
β
For it is a serious thing to have been watched. We all radiate something curiously intimate when we believe ourselves to be alone.
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E.M. Forster
β
But Humanity, in its desire for comfort, had over-reached itself. It had exploited the riches of nature too far. Quietly and complacently, it was sinking into decadence, and progress had come to mean the progress of the Machine.
β
β
E.M. Forster
β
It so happened that Lucy, who found daily life rather chaotic, entered a more solid world when she opened the piano. She was then no longer either deferential or patronizing; no longer either a rebel or a slave.
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β
E.M. Forster (A Room with a View)
β
It was pleasant to wake up in Florence, to open the eyes upon a bright bare room, with a floor of red tiles which look clean though they are not; with a painted ceiling whereon pink griffins and blue amorini sport in a forest of yellow violins and bassoons. It was pleasant, too, to fling wide the windows, pinching the fingers in unfamiliar fastenings, to lean out into sunshine with beautiful hills and trees and marble churches opposite, and, close below, Arno, gurgling against the embankment of the road.
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E.M. Forster (A Room with a View)
β
Lucy was suffering from the most grievous wrong which this world has yet discovered: diplomatic advantage had been taken of her sincerity, of her craving for sympathy and love. Such a wrong is not easily forgotten. Never again did she expose herself without due consideration and precaution against rebuff. And such a wrong may react disastrously upon the soul.
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E.M. Forster (A Room with a View)
β
If you let yourself go I am sure you are sensible. . . . You are inclined to get muddled, if I may judge from last night. Let yourself go. Pull out from the depths those thoughts that you do not understand, and spread them out in the sunlight and know the meaning of them. By understanding George you may learn to understand yourself.
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E.M. Forster (A Room with a View)
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For a wonderful physical tie binds the parents to the children; andβby some sad, strange ironyβit does not bind us children to our parents. For if it did, if we could answer their love not with gratitude but with equal love, life would lose much of its pathos and much of its squalor, and we might be wonderfully happy.
β
β
E.M. Forster (Where Angels Fear to Tread)
β
She gave up trying to understand herself, and the vast armies of the benighted, who follow neither the heart nor the brain, and march to their destiny by catch-words. The armies are full of pleasant and pious folk. But they have yielded to the only enemy that matters β the enemy within. They have sinned against passion and truth, and vain will be their strife after virtue. As the years pass, they are censured. Their pleasantry and their piety show cracks, their wit becomes cynicism, their unselfishness hypocrisy; they feel and produce discomfort wherever they go.
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E.M. Forster (A Room with a View)
β
He had a theory that musicians are incredibly complex, and know far less than other artists what they want and what they are; that they puzzle themselves as well as their friends; that their psychology is a modern development, and has not yet been understood.
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E.M. Forster
β
It is obvious enough for the reader to conclude, "She loves young Emerson." A reader in Lucy's place would not find it obvious. Life is easy to chronicle, but bewildering to practice, and we welcome "nerves" or any other shibboleth that will cloak our personal desire. She loved Cecil; George made her nervous; will the reader explain to her that the phrases should have been reversed?
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β
E.M. Forster (A Room with a View)
β
She had come to that state where the horror of the universe and its smallness are both visible at the same timeβthe twilight of the double vision in which so many elderly people are involved. If this world is not to our taste, well, at all events, there is Heaven, Hell, Annihilationβone or other of those large things, that huge scenic background of stars, fires, blue or black air. All heroic endeavour, and all that is known as art, assumes that there is such a background, just as all practical endeavour, when the world is to our taste, assumes that the world is all. But in the twilight of the double vision, a spiritual muddledom is set up for which no high-sounding words can be found; we can neither act nor refrain from action, we can neither ignore nor respect Infinity.
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β
E.M. Forster (A Passage to India)
β
Few travelled in these days, for, thanks to the advance of science, the earth was exactly alike all over. Rapid intercourse, from which the previous civilization had hoped so much, had ended by defeating itself. What was the good of going to Peking when it was just like Shrewsbury? Why return to Shrewsbury when it would all be like Peking? Men seldom moved their bodies; all unrest was concentrated in the soul.
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E.M. Forster (The Machine Stops)
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Was Mrs. Wilcox one of the unsatisfactory people- there are many of them- who dangle intimacy and then withdraw it? They evoke our interests and affections, and keep the life of the spirit dawdling around them. Then they withdraw. When physical passion is involved, there is a definite name for such behaviour- flirting- and if carried far enough, it is punishable by law. But no law- not public opinion, even- punishes those who coquette with friendship, though the dull ache that they inflict, the sense of misdirected effort and exhaustion, may be as intolerable. Was she one of these?
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E.M. Forster (Howards End)
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George had turned at the sound of her arrival. For a moment he contemplated her, as one who had fallen out of heaven. He saw radiant joy in her face, he saw the flowers beat against her dress in blue waves. The bushes above them closed. He stepped quickly forward and kissed her.
Before she could speak, almost before she could feel, a voice called 'Lucy! Lucy! Lucy!' The silence of life had been broken by Miss Bartlett, who stood brown against the view.
β
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E.M. Forster (A Room with a View)
β
He would not deceive himself so much. He would not β and this was the test β pretend to care about women when the only sex that attracted him was his own. He loved men and always had loved them. He longed to embrace them and mingle his being with theirs. Now that the man who returned his love had been lost, he admitted this.
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E.M. Forster (Maurice)
β
There is much that is immortal in this medieval lady. The dragons have gone, and so have the knights, but still she lingers in our midst. She reigned in many an early Victorian castle, and was Queen of much early Victorian song. It is sweet to protect her in the intervals of business, sweet to pay her honour when she has cooked our dinner well. But alas! the creature grows degenerate. In her heart also there are springing up strange desires. She too is enamoured of heavy winds, and vast panoramas, and green expanses of the sea. She has marked the kingdom of this world, how full it is of wealth, and beauty, and war--a radiant crust, built around the central fires, spinning towards the receding heavens. Men, declaring that she inspires them to it, move joyfully over the surface, having the most delightful meetings with other men, happy, not because they are masculine, but because they are alive. Before the show breaks up she would like to drop the august title of the Eternal Woman, and go there as her transitory self.
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E.M. Forster (A Room with a View)
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Society is invincibleβto a certain degree. But your real life is your own, and nothing can touch it. There is no power on earth that can prevent your criticizing and despising mediocrityβnothing that can stop you retreating into splendour and beautyβinto the thoughts and beliefs that make the real lifeβthe real you.
β
β
E.M. Forster (Where Angels Fear to Tread)
β
The present flowed by them like a stream. The tree rustled. It had made music before they were born, and would continue after their deaths, but its song was of the moment. The moment had passed. The tree rustled again. Their senses were sharpened, and they seemed to apprehend life. Life passed. The tree rustled again.
β
β
E.M. Forster
β
How can the mind take hold of such a country? Generations of invaders have tried, but they remain in exile. The important towns they build are only retreats, their quarrels the malaise of men who cannot find their way home. India knows of their trouble. She knows of the whole world's trouble, to its uttermost depth. She calls "Come" through her hundred mouths, through objects ridiculous and august. But come to what? She has never defined. She is not a promise, only an appeal.
β
β
E.M. Forster (A Passage to India: A Reader's Guide to Essential Criticism)
β
In Europe life retreats out of the cold, and exquisite fireside myths have resultedβBalder, Persephoneβbut [in India] the retreat is from the source of life, the treacherous sun, and no poetry adorns it because disillusionment cannot be beautiful. Men yearn for poetry though they may not confess it; they desire that joy shall be graceful and sorrow august and infinity have a form, and India fails to accommodate them.
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E.M. Forster (A Passage to India)
β
Madness is not for everyone, but Maurice's proved the thunderbolt that dispels the clouds. The storm had been working up not for three days as he supposed, but for six years. It had brewed in the insecurities of being where no eye pierces, his surroundings had thickened it. It had burst and he had not died. The brilliancy of day was around him, he stood upon the mountain range that overshadows youth, he saw.
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E.M. Forster (Maurice)
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Life's very difficult and full of surprises. At all events, I've got as far as that. To be humble and kind, to go straight ahead, to love people rather than pity them, to remember the submerged--well, one can't do all these things at once, worse luck, because they're so contradictory. It's then that proportion comes in--to live by proportion. Don't begin with proportion. Only prigs do that. Let proportion come in as a last resource, when the better things have failed...
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E.M. Forster (Howards End)
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One minute. You know nothing about him. He probably has his own joys and interests- wife, children, snug little home. That's where we practical fellows'- he smiled-'are more tolerant than you intellectuals. We live and let live, and assume that things are jogging on fairly well elsewhere, and that the ordinary plain man may be trusted to look after his own affairs.
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E.M. Forster (Howards End)
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It is only that people are far more different than is pretended. All over the world men and women are worrying because they cannot develop as they are supposed to develop. Here and there they have the matter out, and it comforts them. Don't fret yourself, Helen. Develop what you have; love your child. I do not love children. I am thankful to have none. I can play with their beauty and charm, but that is all - nothing real, not one scrap of what there ought to be. And others - others go farther still, and move outside humanity altogether. A place, as well as a person, may catch the glow. Don't you see that all this leads to comfort in the end? It is part of the battle against sameness. Differences - eternal differences, planted by God in a single family, so that there may always be colour; sorrow, perhaps, but colour in the daily grey.
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E.M. Forster (Howards End)
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But the poetry of that kiss, the wonder of it, the magic that there was in life for hours after it--who can describe that? It is so easy for an Englishman to sneer at these chance collisions of human beings. To the insular cynic and the insular moralist they offer an equal opportunity. It is so easy to talk of "passing emotion," and how to forget how vivid the emotion was ere it passed. Our impulse to sneer, to forget, is at root a good one. We recognize that emotion is not enough, and that men and women are personalities capable of sustained relations, not mere opportunities for an electrical discharge. Yet we rate the impulse too highly. We do not admit that by collisions of this trivial sort the doors of heaven may be shaken open.
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E.M. Forster (Howards End)
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If we lived for ever, what you say would be true. But we have to die, we have to leave life presently. Injustice and greed would be the real thing if we lived for ever. As it is, we must hold to other things, because Death is coming. I love death - not morbidly, but because He explains. He shows me the emptiness of Money. Death and Money are the eternal foes. Not Death and Life. . . . Death destroys a man: the idea of Death saves him. Behind the coffins and the skeletons that stay the vulgar mind lies something so immense that all that is great in us responds to it. Men of the world may recoil from the charnel-house that they will one day enter, but Love knows better. Death is his foe, but his peer, and in their age-long struggle the thews of Love have been strengthened, and his vision cleared, until there is no one who can stand against him.
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E.M. Forster (Howards End)
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Some leave our life with tears, others with an insane frigidity; Mrs. Wilcox had taken the middle course, which only rarer natures can pursue. She had kept proportion. She had told a little of her grim secret to her friends, but not too much; she had shut up her heart--almost, but not entirely. 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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E.M. Forster (Howards End)
β
Margaret realized the chaotic nature of our daily life, and its difference from the orderly sequence that has been fabricated by historians. Actual life is full of false clues and sign-posts that lead nowhere. With infinite effort we nerve ourselves for a crisis that never comes. The most successful career must show a waste of strength that might have removed mountains, and the most unsuccessful is no that of a man who is taken unprepared, but of him who has prepared and is never taken. On a tragedy of that kind our national morality is duly silent. It assumes that preparation against danger is in itself a good, and that men, like nations, are the better for staggering through life fully armed. The tragedy of preparedness has scarcely been handled, save by the Greeks. Life is indeed dangerous, but not in the way morality would have us believe. It is indeed unmanageable, but the essence of it is not a battle. It is unmanageable, but the essence of it is not a battle. It is unmanageable because it is a romance, and its essence is romantic beauty.
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E.M. Forster (Howards End)
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Man, the flower of all flesh, the noblest of all creatures visible, man who had once made god in his image, and had mirrored his strength on the constellations, beautiful naked man was dying, strangled in the garments that he had woven. Century after century had he toiled, and here was his reward. Truly the garment had seemed heavenly at first, shot with colours of culture, sewn with the threads of self-denial. And heavenly it had been so long as man could shed it at will and live by the essence that is his soul, and the essence, equally divine, that is his body.
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E.M. Forster (The Machine Stops)
β
Eccolo!β he exclaimed.
At the same moment the ground gave way, and with a cry she fell out of the wood. Light and beauty enveloped her. She had fallen on to a little open terrace, which was covered with violets from end to end.
βCourage!β cried her companion, now standing some six feet above. βCourage and love.β
She did not answer. From her feet the ground sloped sharply into view, and violets ran down in rivulets and streams and cataracts, irrigating the hillside with blue, eddying round the tree stems, collecting into pools in the hollows, covering the grass with spots of azure foam. But never again were they in such profusion; this terrace was the well-head, the primal source whence beauty gushed out to water the earth.
Standing at its brink, like a swimmer who prepares, was the good man. But he was not the good man that she had expected, and he was alone.
George had turned at the sound of her arrival. For a moment he contemplated her, as one who had fallen out of heaven. He saw radiant joy in her face, he saw the flowers beat against her dress in blue waves. The bushes above them closed. He stepped quickly forward and kissed herβ¦
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E.M. Forster (A Room with a View)
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And the goblins--they had not really been there at all? They were only the phantoms of cowardice and unbelief? One healthy human impulse would dispel them? Men like the Wilcoxes, or ex-President Roosevelt, would say yes. Beethoven knew better. The goblins really had been there. They might return--and they did. It was as if the splendour of life might boil over and waste to steam and froth. In its dissolution one heard the terrible, ominous note, and a goblin, with increased malignity, walked quietly over the universe from end to end. Panic and emptiness! Panic and emptiness! Even the flaming ramparts of the world might fall. Beethoven chose to make all right in the end. He built the ramparts up. He blew with his mouth for the second time, and again the goblins were scattered. He brought back the gusts of splendour, the heroism, the youth, the magnificence of life and of death, and, amid vast roarings of a superhuman joy, he led his Fifth Symphony to its conclusion. But the goblins were there. They could return. He had said so bravely, and that is why one can trust Beethoven when he says other things.
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E.M. Forster (Howards End)
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I belong to a culture that includes Proust, Henry James, Tchaikovsky, Cole Porter, Plato, Socrates, Aristotle, Alexander the Great, Michelangelo, Leonardo da Vinci, Christopher Marlowe, Walt Whitman, Herman Melville, Tennessee Williams, Byron, E.M. Forster, Lorca, Auden, Francis Bacon, James Baldwin, Harry Stack Sullivan, John Maynard Keynes, Dag Hammarskjold⦠These are not invisible men. Poor Bruce. Poor frightened Bruce. Once upon a time you wanted to be a soldier.
Bruce, did you know that an openly gay Englishman was as responsible as any man for winning the Second World War? His name was Alan Turing and he cracked the Germans' Enigma code so the Allies knew in advance what the Nazis were going to do β and when the war was over he committed suicide he was so hounded for being gay. Why don't they teach any of this in the schools? If they did, maybe he wouldn't have killed himself and maybe you wouldn't be so terrified of who you are. The only way we'll have real pride is when we demand recognition of a culture that isn't just sexual. It's all thereβall through history we've been there; but we have to claim it, and identify who was in it, and articulate what's in our minds and hearts and all our creative contributions to this earth. And until we do that, and until we organize ourselves block by neighborhood by city by state into a united visible community that fights back, we're doomed. That's how I want to be defined: as one of the men who fought the war.
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Larry Kramer (The Normal Heart)