William Morris Quotes

Have nothing in your house that you do not know to be useful, or believe to be beautiful.

If you want a golden rule that will fit everything, this is it: Have nothing in your houses that you do not know to be useful or believe to be beautiful.

The true secret of happiness lies in the taking a genuine interest in all the details of daily life.

History has remembered the kings and warriors, because they destroyed; art has remembered the people, because they created.

...I do not want art for a few; any more than education for a few; or freedom for a few...

The seasonal urge is strong in poets. Milton wrote chiefly in winter. Keats looked for spring to wake him up (as it did in the miraculous months of April and May, 1819). Burns chose autumn. Longfellow liked the month of September. Shelley flourished in the hot months. Some poets, like Wordsworth, have gone outdoors to work. Others, like Auden, keep to the curtained room. Schiller needed the smell of rotten apples about him to make a poem. Tennyson and Walter de la Mare had to smoke. Auden drinks lots of tea, Spender coffee; Hart Crane drank alcohol. Pope, Byron, and William Morris were creative late at night. And so it goes.

A good way to rid one's self of a sense of discomfort is to do something. That uneasy, dissatisfied feeling is actual force vibrating out of order; it may be turned to practical account by giving proper expression to its creative character.

Apart from the desire to produce beautiful things, the leading passion of my life has been and is hatred of modern civilization.

It is the childlike part of us that produces works of the imagination. When we were children time passed so slow with us that we seemed to have time for everything.

Nothing should be made by man's labour which is not worth making, or which must be made by labour degrading to the makers.

With the arrogance of youth, I determined to do no less than to transform the world with Beauty. If I have succeeded in some small way, if only in one small corner of the world, amongst the men and women I love, then I shall count myself blessed, and blessed, and blessed, and the work goes on.

Nothing useless can be truly beautiful.

We are only the trustees for those who come after us.

If a chap can't compose an epic poem while he's weaving tapestry, he had better shut up, he'll never do any good at all.

The true secret of happiness lies in taking a genuine interest in all the details of daily life.

Have nothing in your house you do not know to be useful or believe to be beautiful.

Morris liked to share he books with others. Sometimes it was a favorite that everyone loved, and other times he found a lonely little volume whose tale was seldom told. "Everyone's story matters," said Morris. And all the books agreed.

If others can see it as I have seen it, then it may be called a vision rather than a dream.

Let tomorrow cross its own rivers.

Now let us go, love, down the winding stair, With fingers intertwined...

I cannot suppose there is anybody here who would think it either a good life, or an amusing one, to sit with one's hands before one doing nothing - to live like a gentleman, as fools call it.

How can you care about the image of a landscape, when you show by your deeds that you don't care for the landscape itself?

Have nothing in your house that you do not know to be useful, or believe to be beautiful"- 1834

I pondered all these things, and how men fight and lose the battle, and the thing that they fought for comes about in spite of their defeat, and when it comes turns out not to be what they meant, and other men have to fight for what they meant under another name.

...everything made by man's hands has a form, which must be either beautiful or ugly; beautiful if it is in accord with Nature, and helps her; ugly if it is discordant with Nature, and thwarts her; it cannot be indifferent...

The past is not dead, it is living in us, and will be alive in the future which we are now helping to make.

[O]ne has to have endured a few decades before wanting, let alone needing, to embark on the project of recovering lost life. And I think it may be possible to review 'the chronicles of wasted time.' William Morris wrote in The Dream of John Ball that men fight for things and then lose the battle, only to win it again in a shape and form that they had not expected, and then be compelled again to defend it under another name. We are all of us very good at self-persuasion and I strive to be alert to its traps, but a version of what Hegel called 'the cunning of history' is a parallel commentary that I fight to keep alive in my mind.

Let some word reach my ears and touch my heart,

...[Nature] ever bearing witness against man that he has deliberately chosen ugliness instead of beauty...

October O love, turn from the changing sea and gaze, Down these grey slopes, upon the year grown old, A-dying 'mid the autumn-scented haze That hangeth o'er the hollow in the wold, Where the wind-bitten ancient elms infold Grey church, long barn, orchard, and red-roofed stead, Wrought in dead days for men a long while dead. Come down, O love; may not our hands still meet, Since still we live today, forgetting June, Forgetting May, deeming October sweet? - - Oh, hearken! hearken! through the afternoon The grey tower sings a strange old tinkling tune! Sweet, sweet, and sad, the toiling year's last breath, To satiate of life, to strive with death. And we too -will it not be soft and kind, That rest from life, from patience, and from pain, That rest from bliss we know not when we find, That rest from love which ne'er the end can gain? - Hark! how the tune swells, that erewhile did wane! Look up, love! -Ah! cling close, and never move! How can I have enough of life and love?

A great textile, like the William Morris Strawberry Thief, is a piece of art, but it takes a lot of time to make a piece of art. It isn't simply design either. You have to understand the fabrics and what they can bear. You have to understand the dyeing process and how to achieve certain colors and what will make the color last through the ages. If you make a mistake, you might have to begin again." "I don't think I know Strawberry Thief," Sadie said. "One moment," Mrs. Watanabe said. Mrs. Watanabe went into her bedroom, and she returned with a little footstool that was upholstered in a reproduction of Strawberry Thief. The pattern depicted birds and strawberries in a garden, and although Sadie hadn't known the name, she recognized the print when she saw it. "This was William Morris's garden. These were his strawberries. Those were birds he knew. No designer had ever used red or yellow in an indigo discharge dyeing technique before. He must have had to start over many times to get the colors right. This fabric is not just a fabric. It's the story of failure and of perseverance, of the discipline of a craftsman, of the life of an artist.

Love makes clear the eyes that else would never see: "Love makes blind the eyes to all but me and thee.

The true secret of happiness lies in taking a genuine interest in all the details of daily life. -William Morris.

Morris tried to keep the books in some sort of order, but they always mixed themselves up. The tragedies needed cheering up and would visit with the comedies. The encyclopedias, weary of facts, would relax with the comic books and fictions. All in all it was an agreeable jumble.

Have nothing in your house that you do not know to be useful, or believe to be beautiful. -William Morris

On Clearing Clutter "Have nothing in your houses that you do not know to be useful, or believe to be beautiful." - William Morris

Have nothing in your homes that you do not know to be useful or believe to be beautiful. —WILLIAM MORRIS

William Morris. He said that everything you own should be either useful or beautiful.

Whiles in the early Winter eve We pass amid the gathering night Some homestead that we had to leave Years past; and see its candles bright Shine in the room beside the door Where we were merry years agone But now must never enter more, As still the dark road drives us on. E'en so the world of men may turn At even of some hurried day And see the ancient glimmer burn Across the waste that hath no way; Then with that faint light in its eyes A while I bid it linger near And nurse in wavering memories The bitter-sweet of days that were.

William Morris championed the movement for Arts and Crafts. He believed that when we build a house with our hands, make furniture in our workshops, make pots and paintings in our studios, plant fruits and flowers in our gardens, we transform ourselves into alchemists, turning ordinary into extraordinary.

The dining-room was in the good taste of the period. It was very severe. There was a high dado of white wood and a green paper on which were etchings by Whistler in neat black frames. The green curtains with their peacock design, hung in straight lines, and the green carpet, in the pattern of which pale rabbits frolicked among leafy trees, suggested the influence of William Morris. There was blue delft on the chimneypiece. At that time there must have been five hundred dining-rooms in London decorated in exactly the same manner. It was chaste, artistic, and dull.

You may hang your walls with tapestry instead of whitewash or paper; or you may cover them with mosaic; or have them frescoed by a great painter: all this is not luxury, if it be done for beauty's sake, and not for show: it does not break our golden rule: Have nothing in your houses which you do not know to be useful or believe to be beautiful

The Shakers also have one golden rule – back to William Morris: Do not make that which is not useful. And so it was their interpretation that all useful things should also be beautiful. God, as architect Mies van der Rohe said, was in the details and, you never know, an angel may come one day and sit on that chair – it had to be worthy of such an event.

The books I would like to print are the books I love to read and keep.

I can see myself still myself all along the way I have gone. - Lady Abundance

The lost and found the Cause hath crowned, The Day of Days is here.

Count on, rest not, for hope is dead.

Art is the expression of man's pleasure in labour.

If Morris and his contemporaries were possessed by the medieval Christian imagination and the ancient sagas, the moderns looked further back to the ancient world, and rewrote the Greek myths and legends to suit their own ideas about society and history.

Not every visitor was enchanted. William Morris, the future designer and aesthete, then aged seventeen, was so appalled by what he saw as the exhibition’s lack of taste and veneration of excess that he staggered from the building and was sick in the bushes.

I've been very influenced by folklore, fairy tales, and folk ballads, so I love all the classic works based on these things -- like George Macdonald's 19th century fairy stories, the fairy poetry of W.B. Yeats, and Sylvia Townsend Warner's splendid book The Kingdoms of Elfin. (I think that particular book of hers wasn't published until the 1970s, not long before her death, but she was an English writer popular in the middle decades of the 20th century.) I'm also a big Pre-Raphaelite fan, so I love William Morris' early fantasy novels. Oh, and "Lud-in-the-Mist" by Hope Mirrlees (Neil Gaiman is a big fan of that one too), and I could go on and on but I won't!

One of the first lectures my history professor gave us was about this guy William Morris. He said that everything you own should be either useful or beautiful. It’s a lot to aspire to, but I figured why not try? I saw these in a potter’s studio a couple days afterward and I bought them.

Do not be deceived by the outside appearance of order in our plutocratic society. It fares with it as it does with the older norms of war, that there is an outside look of quite wonderful order about it; how neat and comforting the steady march of the regiment; how quiet and respectable the sergeants look; how clean the polished cannon ... the looks of adjutant and sergeant as innocent-looking as may be, nay, the very orders for destruction and plunder are given with a quiet precision which seems the very token of a good conscience; this is the mask that lies before the ruined cornfield and the burning cottage, and mangled bodies, the untimely death of worthy men, the desolated home.

DAILY QUOTE "The true secret of happiness lies in taking a genuine interest in all the details of daily life.

Love gives every gift whereby we long to live: "Love takes every gift, and nothing back doth give.

When a rich man is hurt his wail goeth heavens high and none may say he heareth not.

He trembled with his head hung low.

For hope is dead, for hope is dead.

How do you know it is destiny? Because it is!

William Morris says it this way: “Have nothing in your house that you do not know to be useful, or believe to be beautiful.” 4

Exeter was a walled city and on his arrival William found the rebels manning the whole circuit of its ramparts. In a final attempt to induce a surrender he ordered one of the hostages to be blinded in view of the walls, but, says Orderic, this merely strengthened the determination of the defenders. Indeed, according to William of Malmesbury, one of them staged something of a counter-demonstration by dropping his trousers and farting loudly in the king’s general direction.

I am accursed and beguiled; and I wander round and round in a tangle that I may never escape from. I am not far from deeming that this is a land of dreams made for my beguiling. Or has the earth become so full of lies, that there is no room amidst them for a true man to stand upon his feet and go his ways?

Fiona had never learned her mother's language and she had never shown much respect for the stories that it preserved-the stories that Grant had taught and written about, and still did write about, in his working life. She referred to their heroes as "old Njal" or "old Snorri." But in the last few years she had developed an interest in the country itself and looked at travel guides. She read about William Morris's trip, and Auden's. She didn't really plan to travel there. She said the weather was too dreadful. Also-she said-there ought to be one place you thought about and knew about and maybe longed for-but never did get to see.

Having to amuse myself during those earlier years, I read voraciously and widely. Mythic matter and folklore made up much of that reading—retellings of the old stories (Mallory, White, Briggs), anecdotal collections and historical investigations of the stories' backgrounds—and then I stumbled upon the Tolkien books which took me back to Lord Dunsany, William Morris, James Branch Cabell, E.R. Eddison, Mervyn Peake and the like. I was in heaven when Lin Carter began the Unicorn imprint for Ballantine and scoured the other publishers for similar good finds, delighting when I discovered someone like Thomas Burnett Swann, who still remains a favourite. This was before there was such a thing as a fantasy genre, when you'd be lucky to have one fantasy book published in a month, little say the hundreds per year we have now. I also found myself reading Robert E. Howard (the Cormac and Bran mac Morn books were my favourites), Lovecraft, Clark Ashton Smith and finally started reading science fiction after coming across Andre Norton's Huon of the Horn. That book wasn't sf, but when I went to read more by her, I discovered everything else was. So I tried a few and that led me to Clifford Simak, Roger Zelazny and any number of other fine sf writers. These days my reading tastes remain eclectic, as you might know if you've been following my monthly book review column in The Magazine of Fantasy & Science Fiction. I'm as likely to read Basil Johnston as Stephen King, Jeanette Winterson as Harlan Ellison, Barbara Kingsolver as Patricia McKillip, Andrew Vachss as Parke Godwin—in short, my criteria is that the book must be good; what publisher's slot it fits into makes absolutely no difference to me.

...if these hours be dark, as indeed in many ways they are, at least do not let us sit deedless, like fools and fine gentlemen, thinking the common toil not good enough for us, and beaten by the muddle; but rather let us work like good fellows trying by some dim candle-light to set our workshop ready against to-morrow's daylight...

The majority of people spoil their lives by an unhealthy and exaggerated altruism – are forced, indeed, so to spoil them. They find themselves surrounded by hideous poverty, by hideous ugliness, by hideous starvation. It is inevitable that they should be strongly moved by all this. The emotions of man are stirred more quickly than man’s intelligence; and, as I pointed out some time ago in an article on the function of criticism, it is much more easy to have sympathy with suffering than it is to have sympathy with thought. Accordingly, with admirable, though misdirected intentions, they very seriously and very sentimentally set themselves to the task of remedying the evils that they see. But their remedies do not cure the disease: they merely prolong it. Indeed, their remedies are part of the disease. They try to solve the problem of poverty, for instance, by keeping the poor alive; or, in the case of a very advanced school, by amusing the poor. But this is not a solution: it is an aggravation of the difficulty. The proper aim is to try and reconstruct society on such a basis that poverty will be impossible. And the altruistic virtues have really prevented the carrying out of this aim. Just as the worst slave-owners were those who were kind to their slaves, and so prevented the horror of the system being realised by those who suffered from it, and understood by those who contemplated it, so, in the present state of things in England, the people who do most harm are the people who try to do most good; and at last we have had the spectacle of men who have really studied the problem and know the life – educated men who live in the East End – coming forward and imploring the community to restrain its altruistic impulses of charity, benevolence, and the like. They do so on the ground that such charity degrades and demoralises. They are perfectly right. Charity creates a multitude of sins.

Thus then lived this folk in much plenty and ease of life, though not delicately nor desiring things out of measure. They wrought with their hands and wearied themselves; and they rested from their toil and feasted and were merry: to-morrow was not a burden to them, nor yesterday a thing which they would fain forget: life shamed them not, nor did death make them afraid.

All this was only, in my father's estimation, a means; the end was the Earthly Paradise, the translation of William Morris's 'News from Nowhere' into 'News from Somewhere.' Then Whitman's sense of abounding joy in his own and all creation's sensuality would sweep away the paltry backwaters of bourgeois morality; the horrors of industrial ugliness which Ruskin so eloquently denounced would dissolve, and die forgotten as a dream (phrases from hymns still washed about in my father's mind) as slums were transformed into garden cities, and the belching smoke of hateful furnaces into the cool elegance of electric power. As for the ferocious ravings of my namesake, Carlyle, about the pettifogging nature of modern industrial man's pursuits and expectations -- all that would be corrected as he was induced to spend ever more of his increasing leisure in cultural and craft activities; in the enjoyment of music, literature and art. It was pefectly true -- a point that Will Straughan was liable to bring up at the Saturday evening gatherings -- that on the present form the new citizenry might be expected to have a marked preference for dog-racing over chamber music or readings from 'Paradise Lost,' but, my father would loftily point out, education would change all that. Education was, in fact, the lynchpin of the whole operation; the means whereby the Old Adam of the Saturday night booze-up, and fondness for Marie Lloyd in preference to Beatrice Webb, would be cast off, and the New Man be born as potential fodder for third Programmes yet to come.

Mr. Morris's poem is ushered into the world with a very florid birthday speech from the pen of the author of the too famous Poems and Ballads,—a circumstance, we apprehend, in no small degree prejudicial to its success. But we hasten to assure all persons whom the knowledge of Mr. Swinburne's enthusiasm may have led to mistrust the character of the work, that it has to our perception nothing in common with this gentleman's own productions, and that his article proves very little more than that his sympathies are wiser than his performance. If Mr. Morris's poem may be said to remind us of the manner of any other writer, it is simply of that of Chaucer; and to resemble Chaucer is a great safeguard against resembling Swinburne.

Wealth is what Nature gives us and what a reasonable man can make out of the gifts of Nature for his reasonable use. The sunlight, the fresh air, the unspoiled face of the earth, food, raiment and housing necessary and decent; the storing up of knowledge of all kinds, and the power of disseminating it; means of free communication between man and man; works of art, the beauty which man creates when he is most a man, most aspiring and thoughtful--all things which serve the pleasure of people ... This is wealth. Nor can I think of anything worth having which does not come under one or other of these heads. But think, I beseech you, of the product of ... the workshop of the world, and will you not be bewildered, as I am, at the thought of the mass of things which no sane man could desire, but which our useless toil makes -- and sells?

...for, in [William] Morris's words, 'a work of utility might also be a work of art, if we cared to make it so.

Niente può essere un'opera artistica se non è anche utile, vale a dire se non assiste un corpo saldamente controllato dalla mente, o se non diverte, ristora ed eleva una mente in buona salute.

It is the relationship between the physical environment and the environed organism, between physiography and ontography (to coin a term), that constitutes the essential principles of geography today.

Robin’s experience is his love for his fellow man. He was in the fortunate position of having plenty of money, yet it wasn’t just money that he was willing to give away; he gave something far more important – his time and energy. There is little doubt that, were he still alive, he would be planning more ways to help those in need. Whether rich or poor, we can all do more than we do to help others.

C'est indéniable, il y a eu des horreursà l'époque florissante de l'art médiéval, mais elles étaient dues à la destruction de marchandises, et non, comme aujourd'hui, à leur fabrication : c'était la guerre et la dévastation qui affligeaient l'oeil de l'artiste à cette époque, le villes mises à sac, les villages brûlés et les champs saccagés. Les ruines portent sur elles les stigmates de leur laideur ; aujourd'hui, c'est la prospérité qui affiche sa hideur.

Civil Service Commissioner William Dudley Foulke recorded his interview with Pat Garrett, slayer of Billy the Kid and candidate for Customs Collectorship of El Paso, Texas: ROOSEVELT How many men have you killed? GARRETT Three. ROOSEVELT How did you come to do it? GARRETT In the discharge of my duty as a public officer. ROOSEVELT (looking pleased) Have you ever played poker? GARRETT Yes. ROOSEVELT Are you going to do it when you are in office? GARRETT No. ROOSEVELT All right, I am going to appoint you. But see you observe the civil service law. The appointment dismayed many Texans, not because of Garrett’s bloody record but because he was an agnostic. “In El Paso,” the President said approvingly, “the people are homicidal but orthodox.

For these lands, and, I say, especially the northern parts of America, suffered so terribly from the full force of the last days of civilisation, and became such horrible places to live in, that they are now very backward in all that makes life pleasant. Indeed, one may say that for nearly a hundred years the people of the northern parts of America have been engaged in gradually making a dwelling-place out of a stinking dust-heap; and there is still a great deal to do, especially as the country is so big.

And this love of definite conception, this clearness of vision, this artistic sense of limit, is the characteristic of all great work and poetry; of the vision of Homer as of the vision of Dante, of Keats and William Morris as of Chaucer and Theocritus. It lies at the base of all noble, realistic and romantic work as opposed to the colourless and empty abstractions of our own eighteenth-century poets and of the classical dramatists of France, or of the vague spiritualities of the German sentimental school: opposed, too, to that spirit of transcendentalism which also was root and flower itself of the great Revolution, underlying the impassioned contemplation of Wordsworth and giving wings and fire to the eagle- like flight of Shelley, and which in the sphere of philosophy, though displaced by the materialism and positiveness of our day, bequeathed two great schools of thought, the school of Newman to Oxford, the school of Emerson to America. Yet is this spirit of transcendentalism alien to the spirit of art. For the artist can accept no sphere of life in exchange for life itself. For him there is no escape from the bondage of the earth: there is not even the desire of escape. He is indeed the only true realist: symbolism, which is the essence of the transcendental spirit, is alien to him. The metaphysical mind of Asia will create for itself the monstrous, many-breasted idol of Ephesus, but to the Greek, pure artist, that work is most instinct with spiritual life which conforms most clearly to the perfect facts of physical life.

He was a man with a son who stuttered and another probably on his way to becoming a juvenile delinquent and a daughter with a harelip who sneaked in at night from God knew where and a wife who resented his profession. Yet I knew it was not for himself or for any of us that he was praying. More likely it was for the parents of Bobby Cole. And for Gus. And probably for an asshole named Morris Engdahl. Praying on their behalf. Praying I suppose for the awful grace of God. 2 She wore a white terry-cloth robe and her feet were bare.

Fear and Hope — those are the names of the two great passions which rule the race of man, and with which revolutionists have to deal; to give hope to the many oppressed and fear to the few oppressors, that is our business; if we do the first and give hope to the many, the few must be frightened by their hope; otherwise we do not want to frighten them; it is not revenge we want for poor people, but happiness; indeed, what revenge can be taken for all the thousands of years of the sufferings of the poor? - How We Live and How We Might Live

Vi è stato un tempo nel quale il mistero e la meraviglia dell'artigianato avevano un giusto riconoscimento nel mondo, un tempo nel quale l'immaginazione e la fantasia si mescolavano a tutti gli oggetti prodotti dall'uomo; e in questi giorni ogni artigiano era quel che oggi definiremmo un artista.

The ox hath therefore stretch'd his yoke in vain, The ploughman lost his sweat; and the green corn Hath rotted ere his youth attain'd a beard: The fold stands empty in the drownèd field, And crows are fatted with the murrion flock; The nine men's morris is fill'd up with mud; And the quaint mazes in the wanton green, For lack of tread, are undistinguishable: The human mortals want their winter here; No night is now with hymn or carol blest:— Therefore the moon, the governess of floods, Pale in her anger, washes all the air, That rheumatic diseases do abound: And thorough this distemperature we see The seasons alter: hoary-headed frosts Fall in the fresh lap of the crimson rose; And on old Hyem's thin and icy crown An odorous chaplet of sweet summer buds Is, as in mockery, set: the spring, the summer, The childing autumn, angry winter, change Their wonted liveries; and the maz'd world, By their increase, now knows not which is which: And this same progeny of evils comes

It is real learning, knowledge cultivated for its own sake—the Art of Knowledge, in short—which is followed there, not the Commercial learning of the past. Though perhaps you do not know that in the nineteenth century Oxford and its less interesting sister Cambridge became definitely commercial. They (and especially Oxford) were the breeding places of a peculiar class of parasites, who called themselves cultivated people; they were indeed cynical enough, as the so-called educated classes of the day generally were; but they affected an exaggeration of cynicism in order that they might be thought knowing and worldly-wise. The rich middle classes (they had no relation with the working classes) treated them with the kind of contemptuous toleration with which a mediaeval baron treated his jester; though it must be said that they were by no means so pleasant as the old jesters were, being, in fact, THE bores of society. They were laughed at, despised—and paid. Which last was what they aimed at.

The mythology of a people is far more than a collection of pretty or terrifying fables to be retold in carefully bowdlerized form to our schoolchildren. It is the comment of the men of one particular age or civilization on the mysteries of human existence and the human mind, their model for social behaviour, and their attempt to define in stories of gods and demons their perception of the inner realities. We can learn much from the mythologies of earlier peoples if we have the humility to respect ways of thought widely differing from our own. In certain respects we may be far cleverer than they, but not necessarily wiser. We cannot return to the mythological thinking of an earlier age; it is beyond our reach, like the vanished world of childhood. Even if we feel a nostalgic longing for the past, like that of Jon Keats for Ancient Greece of William Morris for medieval England, there is now no way of entry. The Nazis tries to revive the myths of ancient Germany in their ideology, but such an attempt could only lead to sterility and moral suicide. We cannot deny the demands of our own age, but this need not prevent us turning to the faith of another age with sympathetic understanding, and recapturing imaginatively some of its vanished power. It will even help us view more clearly the assumptions and beliefs of our own time

I’ll be darned if I’d let any man tell me whether I could bob my hair or not. Why, I wouldn’t go back to long hair now for anything. Morris says maybe I should take up smoking cigarettes now. Would you believe it, Cora? Women all over Oklahoma City are smoking cigarettes now. Isn’t that disgraceful? What in God’s name are we all coming to?

Que cherchons-nous à accomplir ? Changer l’organisation sociale sur laquelle repose la prodigieuse structure de l’organisation de la civilisation, qui s’est construite au cours de siècles de conflits, au sein de systèmes vieillissants ou moribonds, conflits dont l’issue fut la victoire de la civilisation moderne sur les conditions naturelles de la vie

İnsanğlu yaşamını sürdürme konusunda kaygı duymaya gerek kalmadığını anladığında, isteyerek ve bilinçli bir şeklide gerçekleştirilirse makine işinden daha cazip olabilecek olan elle yapılan işe ilgi göstermeyi ve elle yapılan işten keyif almayı öğrendiğinde, makinelerin olağan şekilde aşırı kullanımı bir süre sonra muhtemelen bir biçimde kısıtlanacaktır.

Even though great were this cruelty, oppression, and tyranny, though numerous were the oft-victorious clans of the many-familied Erinn; though numerous their kings, and their royal chiefs, and their princes; though numerous their heroes and champions, and their brave soldiers, their chiefs of valour and renown and deeds of arms; yet not one of them was able to give relief, alleviation, or deliverance from that oppression and tyranny, from the numbers and multitudes, and the cruelty and the wrath of the brutal, ferocious, furious, untamed, implacable hordes by whom that oppression was inflicted, because of the excellence of their polished, ample, treble, heavy, trusty, glittering corslets; and their hard, strong, valiant swords; and their well-riveted long spears, and their ready, brilliant arms of valour besides; and because of the greatness of their achievements and of their deeds, their bravery, and their valour, their strength, and their venom, and their ferocity, and because of the excess of their thirst and their hunger for the brave, fruitful, nobly-inhabited, full of cataracts, rivers, bays, pure, smooth-plained, sweet grassy land of Erinn"—(pp. 52-53).

In your process of removing the unneeded excess, you’ll want to develop your own working definition of clutter. Early in our minimizing journey, my wife and I began to define clutter as (a) too much stuff in too small a space, (b) anything that we no longer used or loved, and (c) anything that led to a feeling of disorganization. Feel free to rip off that definition if you want. But there are other definitions you might find resonate better with your ideals. For example, Joshua Fields Millburn defines clutter as anything that does not “add value” to his life.1 Marie Kondo describes clutter as those things in her home that do not “spark joy.” 2 Peter Walsh goes even further, saying that clutter is anything that “interferes with the life you could be living.” 3 And William Morris says it this way: “Have nothing in your house that you do not know to be useful, or believe to be beautiful.” 4

Arise and do on gladness, lest the clouds roll on and lower O'er the heavy hearts of the people in the Niblungs' parting hour. So he spake, and his love rejoiced her, and they rose in the face of the day, And no seeming shadow of evil on those bright-eyed King-folk lay. Lo now, a stir by the doorway, and men see how great and grand Come the Kings of Giuki begotten, all-armed, and hand in hand: Where then shall the world behold them, such champions clad in steel, Such hearts so free and bounteous, so wise for the people's weal? Where then shall the world see such-like, if these must die as the mean, And fall as lowly people, and their days be no more seen? They go forth fair and softly as they wend to the seat of the Kings, And they smile in their loving-kindness as they talk of bygone things. Are they not as the children of Giuki, that fared afield erewhile In hope without contention, mid the youth that knew no guile?

Il primo passo per rendere attraente il lavoro è consegnare quel che rende fruttuoso il lavoro, il Capitale, compresa la terra, i macchinari, le fabbriche ecc., nelle mani della comunità, perché ne faccia uso per il bene collettivo, in modo che possiamo tutti lavorare per “soddisfare” le vere “domande” di tutti – il che significa lavorare per sopravvivere, invece che per soddisfare la domanda del mercato del profitto, per il profitto, costringendo cioè gli altri uomini a lavorare contro la loro volontà.

Zanaatkar kendi eliyle tasarladığı şekliyle nesneyi öylesine doğal ve bilinçli bir çaba olmadan süslerdi ki, ortaya çıkardığı işin salt faydacı kısmının nerede bittiği dekoratif kısmının nerede başladığını ayırmak sıklıkla güç olurdu. [...] Yapılan tüm çalışmaların haz mührüyle damgalanması demekti. Bunların tamamı, uygarlığın iş anlayışında artık bir hayli kaybolmuş durumda. Eğer bir süse sahip olmak istiyorsanız, özellikle onun için para ödemelisiniz ve işçi de süsü üretmeye zorlanmalıdır, tıpkı diğer eşyaları üretmeye zorlandığı gibi.

... The influence of the Pre-Raphaelites was felt less through their paintings than through a book, The Poems of Tennyson, edited by Moxon and wonderfully illustrated by Rossetti and Millais. The influence on Maeterlinck stems less from the poems themselves than from the illustrations. The revival of illustrated books in the last two years of the century derives from this Tennyson, the books printed at William Morris' press, the albums of Walter Crane. These last two and the ravishing little books for children by Kate Greenaway were heralded by Huysmans as early as 1881. Generally speaking, it is the English Aesthetic Movement rather than the Pre-Raphaelites which influenced the Symbolists, a new life-style rather than a school of painting. The Continent, passing through the Industrial Revolution some fifty years after England, found valuable advice on how to escape from materialism on the other side of the Channel. Everything that one heard about the refinements practised in Chelsea enchanted Frenchmen of taste: furniture by Godwin, open-air theatricals by Lady Archibald Campbell, the Peacock Room by Whistler, Liberty prints. As the pressure of morality was much less pronounced in France than in England, the ideal of Aestheticism was not a revolt but a retreat towards an exquisite world which left hearty good living to the readers of the magazine La Vie Parisienne ('Paris Life') and success to the readers of Zola. If one could not write a beautiful poem or paint a beautiful picture, one could always choose materials or arrange bouquets of flowers. Aesthetic ardour smothered the anglophobia in the Symbolist circle. The ideal of a harmonious life suggested in Baudelaire's poem L' Invitation au Voyage seemed capable of realization in England, whose fashions were brought back by celebrated travellers: Mallarmé after 1862, Verlaine in 1872. Carrière spent a long time in London, as did Khnopff later on. People read books by Gabriel Mourey on Swinburne, and his Passé le Détroit ('Beyond the Channel') is particularly important for the artistic way of life ... Thus England is represented in this hall of visual influences by the works of Burne-Jones and Watts, by illustrated books, and by objets d'art ...

Ricchezza è quello che la Natura ci dà e quello che un uomo assennato può trarre dai suoi doni per farne un uso ragionevole. La luce del sole, l'aria fresca, l'incontaminato volto della Terra, e quanto abbisogni di cibo, vestiario e alloggio decenti; l'accumulo di conoscenze di ogni tipo, e il potere di diffonderle; i mezzi con cui gli uomini possono liberamente comunicare fra loro; le opere d'arte, la bellezza che l'uomo crea quanto è uomo nel senso più alto, animato da aspirazioni e premura per gli altri; tutte cose al servizio del piacere della gente, libere, degne di un uomo e incorrotte. Questa è la ricchezza.

These are the forgeries of jealousy; And never, since the middle summer’s spring, Met we on hill, in dale, forest, or mead, By pavèd fountain or by rushy brook, Or in the beachèd margent of the sea, To dance our ringlets to the whistling wind, But with thy brawls thou hast disturbed our sport. Therefore the winds, piping to us in vain, As in revenge have sucked up from the sea Contagious fogs, which, falling in the land, Hath every pelting river made so proud That they have overborne their continents. The ox hath therefore stretched his yoke in vain, The plowman lost his sweat, and the green corn Hath rotted ere his youth attained a beard. The fold stands empty in the drownèd field, And crows are fatted with the murrain flock. The nine-men’s-morris is filled up with mud, And the quaint mazes in the wanton green, For lack of tread, are undistinguishable. The human mortals want their winter here. No night is now with hymn or carol blessed. Therefore the moon, the governess of floods, Pale in her anger, washes all the air, That rheumatic diseases do abound. And thorough this distemperature we see The seasons alter: hoary-headed frosts Fall in the fresh lap of the crimson rose, And on old Hiems’ thin and icy crown An odorous chaplet of sweet summer buds Is, as in mockery, set. The spring, the summer, The childing autumn, angry winter, change Their wonted liveries, and the mazèd world By their increase now knows not which is which. And this same progeny of evils comes From our debate, from our dissension; We are their parents and original.

La semplicità di vita, che genera semplicità di gusto, cioè amore per ciò che è dolce e nobile, è fra tutte le cose la più necessaria per far nascere quell'arte nuova e migliore alla quale aspiriamo: semplicità ovunque, nel palazzo come nel cottage. E ancor più necessari sono ovunque la pulizia e la decenza, nel cottage come nel palazzo; la loro mancanza è infatti un serio aspetto del costume che dovremmo correggere, e assieme a essa tutte le disuguaglianze che esistono nel modo di vivere e il plurisecolare accumularsi dell'incuria e del disordine che ne sono la causa. Ma finora sono ben pochi coloro che hanno cominciato a pensare a un rimedio di portata generale. E non sembra esservi nessuno che tenga conto neppure dell'aspetto più particolare della questione, quel deturpamento delle nostre grandi città provocato da tutto ciò che il commercio si porta dietro, o che cerchi di tenere a freno il loro spaventoso squallore.

Noi ci siamo ricordati di quello che la maggior parte degli uomini ha dimenticato, in quest'epoca di brutto, infruttifero lavoro delle falsificazioni: che è possibile essere felici, che il lavoro può essere un piacere, anzi, che l'essenza del piacere si trova nel lavoro se questo è giustamente indirizzato, ossia incamminato verso il raggiungimento di quelle funzioni che le persone sagge e sane desiderano vedere realizzate; in altre parole, se il principio che lo muove è l'aiuto reciproco. In breve, noi artisti ci troviamo in questa situazione: siamo i rappresentanti dell'artigianato che si è estinto nella produzione commerciale. Facciamo perciò del nostro meglio per diventare i migliori artigiani possibili; e se non possiamo essere buoni artigiani ad un certo livello, fermiamoci ad un livello inferiore in modo da trovare il nostro posto nelle arti, ove rendere pienamente; insomma se siamo artisti possiamo essere certi che troveremo ciò che siamo in grado di far bene, anche se non sarà molto facile.

Quando infine saremo sollevati da tutto ciò, nel contesto di una rinnovata semplicità di vita, avremo tempo per pensare al nostro lavoro, questo fedele compagno quotidiano, che nessuno si azzarderà più a definire una maledizione, perché certamente allora ne saremo felici, ognuno al suo posto, senz'alcuna invidia reciproca; e nessuno sarà costretto a essere il servo di un altro uomo, mentre ciascuno rifiuterà con sdegno di essere il padrone di un altro. E a quel punto gli uomini saranno senz'altro felici nel loro lavoro, e quella felicità promuoverà per certo un'arte decorativa nobile e popolare. Quell'arte renderà le nostre strade belle come i boschi, tali da suscitare, come la vista delle montagne, un sentimento di elevazione; sarà un piacere, e un ristoro per lo spirito, non un peso, giungere in città dall'aperta campagna; l'abitazione di ogni uomo sarà bela e dignitosa, tale da rasserenarne l'animo e assisterlo nel suo lavoro. Tutte le opere umane in mezzo alle quali viviamo e che maneggiamo saranno in armonia con la natura, sensate e belle, e tuttavia sempre semplici e stimolanti, non puerili né tali da infiacchirci; perché come dai nostri edifici pubblici non mancherà alcuna bellezza o splendore che rientri nelle capacità della mente e della mano dell'uomo, così nelle abitazioni private non vi sarà alcun segno di spreco, di pompa o di arroganza, e ognuno godrà della sua parte del meglio.

Naturalmente questa invasione della campagna creò da principio complessi problemi di organizzazione, che avrebbero portato a un'enorme miseria, se il popolo fosse stato ancora schiavo del monopolio di classe. Ma così come stavano le cose, la situazione si assestò presto da sola. Una per una le persone scoprirono quali erano i loro interessi e rinunciarono a imporsi occupazioni in cui non avrebbero assolutamente potuto riuscire. È vero che la città invase la campagna, ma gli invasori, come gli antichi guerrieri, si lasciarono influenzare dal nuovo ambiente e si trasformarono in agricoltori; diventando poi più numerosi dei cittadini, a loro volta finirono per influenzare anche questi ultimi; così la differenza fra campagna e città si attenuò sempre di più. E fu proprio questo mondo agricolo, vivificato dal pensiero e dall'attività della gente di città, che permise il sorgere di questa vita serena, agiata ma produttiva, di cui voi stesso avete avuto una prima esperienza. Come vi ripeto, abbiamo compiuto molti errori, ma col tempo siamo riusciti a correggerli. Ai tempi della mia infanzia la gente doveva ancora lavorare parecchio. Le idee mature della prima metà del secolo XX, quando gli uomini erano ancora ossessionati dal terrore della miseria e non sapevano apprezzare, come noi oggi, i piaceri della vita di tutti i giorni, distrussero molte delle bellezze ambientali che ci erano state lasciate dall'epoca del commercio; e devo ammettere che gli uomini si risollevarono solo molto lentamente dai danni che essi stessi si erano procurati, anche dopo aver conquistato la libertà. Ma per quanto lentamente, la guarigione venne, doveva venire; e più ci conoscerete, più vi accorgerete di quanto noi oggi siamo felici: viviamo circondati dalla bellezza senza alcun timore di diventare rammolliti, siamo sempre impegnatissimi e la cosa ci riempie di gioia. Che cosa si potrebbe domandare di più dalla vita?

Da tutto ciò che abbiamo letto e sentito dire, è chiaro che nell'ultimo stadio della "civiltà" gli uomini, per quello che riguarda la produzione dei beni, si erano cacciati in un circolo vizioso. Avevano raggiunto una meravigliosa capacità di produzione e, per darle uno sviluppo sempre maggiore, poco per volta avevano creato (o meglio avevano lasciato che si sviluppasse) un complicatissimo sistema di compravendita, che fu chiamato mercato mondiale. Questo mercato mondiale, una volta costituito, costrinse gli uomini a produrre un numero sempre crescente di beni, fossero necessari o no. E così, mentre non potevano esimersi, com'è ovvio, dalla fatica di produrre ciò che era realmente necessario, creavano senza interruzione tutta una serie di oggetti inutili o considerati artificiosamente necessari, i quali, sotto la ferrea legge del mercato mondiale di cui s'è detto, acquistavano la stessa importanza dei prodotti realmente necessari all'esistenza. In questo modo si lasciarono opprimere da un'immensa mole di lavoro, al solo scopo di salvaguardare quel loro squallido sistema. Poi proprio per questa ragione, dal momento che si erano imposti di barcollare sotto il peso orribile di una produzione inutile, diventò loro impossibile considerare il lavoro e i suoi frutti da qualunque altro punto di vista che non fosse l'incessante tentativo di impiegare la minore quantità di lavoro possibile per ogni tipo di prodotto, e allo stesso tempo di produrre quanti più oggetti fosse possibile. Tutto veniva sacrificato a quella che si chiamava “la riduzione dei costi di produzione”: la soddisfazione del lavoratore nel compiere il suo lavoro, non solo, ma addirittura il suo più elementare benessere, la salute, l'alimentazione, il vestiario, l'abitazione, il tempo libero, i divertimenti, l'educazione... la sua vita insomma, sulla bilancia non aveva neppure il peso di un granello di sabbia in confronto all'opprimente necessità di produrre a basso costo beni che in gran parte non valeva neanche la pena di produrre. Anzi, […] perfino i ricchi e i potenti, i padroni di quei poveri diavoli si adattavano a vivere in mezzo a viste, rumori e odori, che la natura umana aborre e cerca di sfuggire, per far sì che le loro ricchezze contribuissero al mantenimento di quella immane pazzia. L'intera società era infatti caduta nelle fauci di questo mostro insaziabile, la “produzione a basso costo” e vi era stata spinta dal mercato mondiale.