Sad Aesthetic Quotes

Beauty and art, no doubt, pervade all business of life like a kindly genius, and form the bright adornment of all our surroundings, both mental and material, soothing the sadness of our condition and the embarrassments of real life, killing time in entertaining fashion, and where there’s nothing to be achieved, occupying the place of what is vicious, better, at any rate, than vice.

For, in movie logic, aesthetics has the authority of ethics: to be less than beautiful is sad, but to be willfully less than beautiful is immoral.

We always hide something of ourselves whenever we create something.

I can not be a part of myself - for everything that creates my soul incompletes my heart.

It is a sad fact that all flesh must die, but there is no reason why one's story, as well as one's soul, should be slighted after the passage. The attraction artists feel for our cemeteries is only partly aesthetic; much of it is gossip, a continual whisper intended for the delighted ear. Marble without a story is just marble. A true monument leans over and murmurs in your ear.

Oh apologies,” Merlin’s face blotched with red. “I, um, come from a society with a history of gender assumptions based on physical markers, aesthetics…et cetera.” Ew,” Ari said. “That’s wicked sad,” Kay added. Merlin, at least, looked deeply ashamed. “You’ve no idea.

Everything dies once - only love dies twice.

Silver may paint your words - but gold speaks in a way that outlives the greatest poets.

Several passages induced the shiver of aesthetic bliss in my spine that Nabokov famously described as the indicator of good and true writing. The whole thing is by turns hilarious and hilariously sad, artfully pin-holed with melancholy (my favorite drink)… Empty the Sun is an impressive achievement, as well as an excellent and I believe as yet unused name for a rock band.

i can't ask you what you think about me due to the fear of the reply “ i dont ” so i’ll hide behind the timid smiles & simple hellos hoping that one day you’ll notice the shy girl sitting in the corner staring at you in awe - the perks of being invisible

I saw your sad as if a charity in radiant in night long morphic sheen and tears the tomb of your infinity. — Georges Bataille, from “Je revais de toucher” in “5 poems,” Hyperion: On the Future of Aesthetics, a web publication of The Nietzsche Circle, Volume III, issue 4, December 2008

Sometimes I grow afraid of long flights and street signs and a heartbeat Of open endings and reflections and chipped coffee mugs Of jingling keys and unmade beds and choked sobs Of crescent moons and dead flowers and small insects But most of all I am afraid //Of you// -An abusive relationship

It had been in a Paris house, with many people around, and my dear friend Jules Darboux, wishing to do me a refined aesthetic favor, had touched my sleeve and said, "I want you to meet-" and led me to Nina, who sat in the corner of a couch, her body folded Z-wise, with an ashtray at her heel, and she took a long turquoise cigarette holder from her lips and joyfully, slowly exclaimed, "Well, of all people-" and then all evening my heart felt like breaking, as I passed from group to group with a sticky glass in my fist, now and then looking at her from a distance (she did not look...), and listening to scraps of conversation, and overheard one man saying to another, "Funny, how they all smell alike, burnt leaf through whatever perfume they use, those angular dark-haired girls," and as it often happens, a trivial remark related to some unknown topic coiled and clung to one's own intimate recollection, a parasite of its sadness.

You can not create something without love and expect it to be great.

The Art of Living is to be yourself. It is to be true to yourself. The Art of Living is learning to live with love, awareness and truth. Meditation is the way to learn The Art of Living. Being is you. To discover your being is the beginning of life. You can live in two ways: 1. Ego - effort and desire and 2.Being - no-effort, being in a let go with existence. Religion is The Art of Living. Five keys to The Art of Living: 1. Be life-affirmative. Life is synonymous with God. Live with reverence, great respect and gratitude for life. Feel thankful and prayerful. 2. Make life an heartful, aesthetic experience. Become more sensitive, sensuous and creative - and you will become more spiritual. 3.Experience life in all possible ways. Experience all dualities and polarities of life: good/bad, bitter/sweet, summer/winter, happiness/sadness and life/death. Do not be afraid of experience, because the more experiences you have, the more spiritually mature you become. 4. Live in the present. Forget the past and the future - this moment is the only reality. This moment has to become your whole love, life and death. 5.Live courageously. Do not become too result-oriented, because result-oriented people miss life. Do not think of goals, because goals are in the future - and life is in the moment, in the here and now.

Here's the most startling irony I know in film history: Antonioni, who is often denigrated by left-wing critics as a formalist and aesthete gives us radical realism through the long take, and what he gives us--this is his metaphysical wager--is real outside the film, off the set, beyond the camera and underneath the surface of everyday life.

Furthermore, the sense of passion or of power, of depth and vibrancy, feeling and vision, we take away from any work is the result of the intermingling, balance, play, and antagonism between these: it is the arrangement of blues, not any blue itself, which lets us see the mood it formulates, whether pensive melancholy or thoughtless delight, so that one to whom aesthetic experience comes easily will see, as Schopenhauer suggested, sadness in things as readily as smoky violet or moist verdigris.

Better a fallen rocket than never a burst of light. Dante reserved a place in his Inferno for those who wilfully live in sadness - sullen in the sweet air, he says. Your 'honour' is all shame and timidity and compliance. Pure of stain! But the artist is the secret criminal in our midst. He is the agent of progress against authority. you are right to be a scholar. A scholar is all scruple, an artist is none. The artist must lie, cheat, deceive, be untrue to nature and contemptuous of history. I made my life into my art and it was an unqualified success. The blaze of my immolation threw its light into every corner of the land where uncounted young men sat each in his own darkness. What would I have done in Megara!? - think what I would have missed! I awoke the imagination of the century. I banged Ruskin's and Pater's heads together, and from the moral severity of one and the aesthetic soul of the other I made art a philosophy that can look the twentieth century in the eye. I had genius, brilliancy, daring, I took charge of my own myth. I dipped my staff into the comb of wild honey. I tasted forbidden sweetness and drank the stolen waters. I lived at the turning point of the world where everything was waking up new - the New Drama, the New Novel, New Journalism, New Hedonism, New Paganism, even the New Woman. Where were you when all this was happening?

My room had a balcony where I could watch the setting sun flood the desert floor and burnish the golden slopes of the MacDonnell Ranges beyond – or at least I could if I looked past the more immediate sprawl of a K-Mart plaza across the road. In the two million or more square miles that is the Australian outback, I don’t suppose there is a more unfortunate juxtaposition. Allan was evidently held by a similar thought, for a half hour later when we met out front he was staring at the same scene. ‘I can’t believe we’ve just driven a thousand miles to find a K-Mart,’ he said. He looked at me. ‘You Yanks have a lot to answer for, you know.’ I started to protest, in a sputtering sort of way, but what could I say? He was right. We do. We have created a philosophy of retailing that is totally without aesthetics and totally irresistible. And now we box these places up and ship them to the far corners of the world. Visually, almost every arrestingly regrettable thing in Alice Springs was a product of American enterprise, from people who couldn’t know that they had helped to drain the distinctiveness from an outback town and doubtless wouldn’t see it that way anyway. Nor come to that, I dare say, would most of the shoppers of Alice Springs, who were no doubt delighted to get lots of free parking and a crack at Martha Stewart towels and shower curtains. What a sad and curious age we live in. We

This much is certain: had I a daughter of an age where there could be any question of her being influenced by you, I would most assuredly warn her, the more so if she were also intellectually gifted. And if there were no reason to warn her against you, then I myself, who nevertheless imagine I might be your match, if not in suppleness then at least in firmness and constancy, if not in the variable and brilliant then at least in steadiness – then I myself, with a certain reluctance, sometimes actually feel that you are corrupting me, that I am letting myself be carried away by your exuberance, by the apparently good-natured wit with which you mock everything, that I am letting myself be borne away into this aesthetic-intellectual intoxication in which you live. In a way, then, I feel to some degree uncertain towards you, at times being too severe, at others too indulgent. However, that is not so strange, for you are the epitome of all possibility; so that one may see in you the possibility at one moment of your own ruin, at another of your own salvation. Every mood, every thought, good or evil, cheerful or sad, you pursue to its farthest limit, yet more in abstraction than concretely, so the pursuit is itself more like a mood from which nothing results except the knowledge of it, though not enough to make it more difficult or easy next time to abandon yourself to that same mood; for you keep it as a constant possibility. So it is almost as though you could be reproached for everything and nothing at all, because it is and yet is not attributable to you. You admit or don’t admit, according to circumstances, to having had such a mood. But you are not available for any charge. The important thing for you is that you have had the mood completely, with proper pathos.

As they flew, Holden looked back up at the Knight: a blocky gray wedge with a drive cone stuck on the wider end. Like everything else humans built for space travel, it was designed to be efficient, not pretty. That always made Holden a little sad. There should be room for aesthetics, even out here.

She was writing poems about being sad and suicidal, Everyone appreciated & applauded, and her poem went viral, But no one asked her if she was better now, What did it take for her to write something that no one cared about? Well, the art gets sold, The emotion involved gets aesthetic, Everyone cares about the art, Not so much about the artist.

I'm so sad that everything here seems forever devoid of the slightest charm. How can I still speak of beauty and indulge in aesthetics when I'm so sad to death ?

The path dips down to Gal Vihara: a wide, quiet, hollow, surrounded with trees. A low outcrop of rock, with a cave cut into it, and beside the cave a big seated Buddha on the left, a reclining Buddha on the right, and Ananda, I guess, standing by the head of the reclining Buddha. In the cave, another seated Buddha. The vicar general, shying away from "paganism." hangs back and sits under a tree reading the guidebook. I am able to approach the Buddhas barefoot and undisturbed, my feet in wet grass, wet sand. Then the silence of the extraordinary faces. The great smiles. Huge and yet subtle. Filled with every possibility, questioning nothing, knowing everything, rejecting nothing, the peace not of emotional resignation but of Madhyamika, of sunyata, that has seen through every question without trying to discredit anyone or anything - without refutation - without establishing some other argument. For the doctrinaire, the mind that needs well-established positions, such peace, such silence, can be frightening. I was knocked over with a rush of relief and thankfulness at the obvious clarity of the figures, the clarity and fluidity of shape and line, the design of the monumental bodies composed into the rock shape and landscape, figure, rock and tree. And the sweep of bare rock sloping away on the other side of the hollow, where you can go back and see different aspects of the figures. Looking at these figures I was suddenly, almost forcibly, jerked clean out of the habitual, half-tied vision of things, and an inner clearness, clarity, as if exploding from the rocks themselves, became evident and obvious. The queer evidence of the reclining figure, the smile, the sad smile of Ananda standing with arms folded (much more "imperative" than Da Vinci's Mona Lisa because completely simple and straightforward). The thing about all this is that there is no puzzle, no problem, and really no "mystery." All problems are resolved and everything is clear, simply because what matters is clear. The rock, all matter, all life, is charged with dharmakaya... everything is emptiness and everything is compassion. I don't know when in my life I have ever had such a sense of beauty and spiritual validity running together in one aesthetic illumination. Surely, with Mahabalipuram and Polonnaruwa my Asian pilgrimage has come clear and purified itself. I mean, I know and have seen what I was obscurely looking for. I don't know what else remains but I have now seen and have pierced through the surface and have got beyond the shadow and the disguise. This is Asia in its purity, not covered over with garbage, Asian or European or American, and it is clear, pure, complete. It says everything: it needs nothing. And because it needs nothing it can afford to be silent, unnoticed, undiscovered. It does not need to be discovered. It is we, Asians included, who need to discover it. The whole thing is very much a Zen Garden, a span of bareness and openness and evidence, and the great figures, motionless, yet with the lines in full movement, waves of vesture and bodily form, a beautiful and holy vision. The rest of the "city", the old palace complex, I had no time for. We just drove around the roads and saw the ruined shapes, and started on the long drive home to Kandy.

The sad girl aesthetic has expired, hoe. It’s time for bad bitch o’clock.

I was already familiar with James's famous dictum that “we weep' not because we are sad; we are sad because we weep.” This formula appealed to me aesthetically —because of its paradoxic nature, in the first place, and because of the idea that a proper display of details usually associated with an emotion can arouse the emotion itself.

What alone mattered was that the boy cultivate his faculties for the optimum enjoyment of refined leisure. The gifted son was consequently reared in a virtual hothouse for the development of aesthetic talent.* Small wonder that the adolescent Hofmannsthal became a young Narcissus, “early ripened and tender and sad.”8 Quickly absorbing the fashionable poetic and plastic culture of all Europe, his language glowed darkly with purple and gold, shimmered with world-weary mother-of-pearl.

This naked moment may well be apprehended with greater acuity in retrospect, but how can we know if what we view in hindsight will ever have truly been? The uncertainty of it is frightening-but maybe, at the same time, we need not look upon it as a crisis of the human condition. Assimilating this irresoluteness may indeed be our greatest capacity. To live in this perpetual bewilderment and without respite is to be honest, even genuine, with oneself. Perhaps we must embrace the disinterested nature of our anxiety even if we know that it is contrastingly woven from competing threads of self-interest. It is sad that we cannot trust what our senses tell us, trust the information we are given. Or maybe it is beautiful if you see an aesthetic to the indecipherable, to the very thought that even the tiniest shard of logic may pierce at us whilst yet eluding us.

This naked moment may well be apprehended with greater acuity in retrospect, but how can we know if what we view in hindsight will ever have truly been? The uncertainty of it is frightening—but maybe, at the same time, we need not look upon it as a crisis of the human condition. Assimilating this irresoluteness may indeed be our greatest capacity. To live in this perpetual bewilderment and without respite is to be honest, even genuine, with oneself. Perhaps we must embrace the disinterested nature of our anxiety even if we know that it is contrastingly woven from competing threads of self-interest. It is sad that we cannot trust what our senses tell us, trust the information we are given. Or maybe it is beautiful if you see an aesthetic to the indecipherable, to the very thought that even the tiniest shard of logic may pierce at us whilst yet eluding us.

one must pause to observe that he might perhaps have done well, in choosing this comparison, to have reflected on the sheer strangeness, and significance, of the historical and cultural changes that made it possible in the first place for the death of a common man at the hands of a duly appointed legal authority to become the captivating center of an entire civilization’s moral and aesthetic contemplations—and for the deaths of all common men and women perhaps to be invested thereby with a gravity that the ancient order would never have accorded them. It seems to me that here, displayed with an altogether elegant incomprehensibility in Grayling’s casual juxtaposition of the sea-born goddess and the crucified god (who is a crucified man), one catches a glimpse of the enigma of the Christian event, which Nietzsche understood and Grayling sadly does not: the unanticipated lightning bolt that broke from the cloudless sky of pagan antiquity, the long revolution that overturned the hierarchies of heaven and earth alike. One does not have to believe any of it, of course—the Christian story, its moral claims, its metaphysical systems, and so forth. But anyone who chooses to lament that event should also be willing first to see this image of the God-man, broken at the foot of the cross, for what it is, in the full mystery of its historical contingency, spiritual pathos, and moral novelty: that tender agony of the soul that finds the glory of God in the most abject and defeated of human forms. Only if one has succeeded in doing this can it be of any significance if one still then elects to turn away.

A sad truth throughout the world—and specifically in this country—is that whiteness, aesthetical if not cultural, for many has become aspirational.

After I consumed Frost in his entirety, my days of exploration began. I read The Diving Comedy while leafing through E. E. Cummings. I read Sidney and Milton and Shelley, piecing together my own aesthetics, my own defence of poetry. I felt alone and religious and desperately sad.