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Read through the most famous quotes by topic #beauty
Cruelty is a mystery, and the waste of pain. But if we describe a world to compass these things, a world that is a long, brute game, then we bump against another mystery: the inrush of power and light…unless all ages and races of men have been deluded by the same mass hypnotist (who?), there seems to be such a thing as beauty, a grace wholly gratuitous…we don’t know what’s going on here. If these tremendous events are random combinations of matter run amok, the yield of millions of monkeys at millions of typewriters, then what is it in us, hammered out of those same typewriters, that they ignite? We must somehow take a wider view, look at the whole landscape, really see it, and describe what’s going on here. Then we can at least wail the right question into the swaddling band of darkness, or, if it comes to that, choir the proper praise. ↗
The old oak, utterly transformed, draped in a tent of sappy dark green, basked faintly, undulating in the rays of the evening sun. Of the knotted fingers, the gnarled excrecenses, the aged grief and mistrust- nothing was to be seen. Through the rough, century-old bark, where there were no twigs, leaves had burst out so sappy, so young, that is was hard to believe that the aged creature had borne them. "Yes, that is the same tree," thought Prince Andrey, and all at once there came upon him an irrational, spring feeling of joy and renewal. All the best moments of his life rose to his memory at once. Austerlitz, with that lofty sky, and the dead, reproachful face of his wife, and Pierre on the ferry, and the girl, thrilled by the beauty of the night, and that night and that moon- it all rushed at once into his mind. ↗
Pain and grief have been kept buried for ages, bred in secrecy and shame, wrapped by an ongoing conspiracy of smiles and well-being. Pain and grief are most healing and ecstatic emotions. Yes, sure, they can be hard, yet what makes them most devastating is the perverted idea that they are wrong, that they need to be hidden and fixed. The greatest perversion I can conceive is the idea that illness and pain are a sign that there is something wrong in our life, that we have unresolved issues, that we have made mistakes. In this world everyone is bound to get ill, experience pain and die. The greatest gift I can give to myself and the world is the joyful acceptance of this. Today I want to be real, I will not hide my pain as well as my happiness. I will not care if my gloomy face or desperate words cause concern or embarrassment in others. I do not need be fed with reassuring words about the beauty of life. The beauty of life resides in the full acceptance of All That Is. ↗
Good human work honors God's work. Good work uses no thing without respect, both for what it is in itself and for its origin. It uses neither tool nor material that it does not respect and that it does not love. It honors nature as a great mystery and power, as an indispensable teacher, and as the inescapable judge of all work of human hands. It does not dissociate life and work, or pleasure and work, or love and work, or usefulness and beauty. To work without pleasure or affection, to make a product that is not both useful and beautiful, is to dishonor God, nature, the thing that is made, and whomever it is made for. This is blasphemy: to make shoddy work of the work of God. But such blasphemy is not possible when the entire Creation is understood as holy and when the works of God are understood as embodying and thus revealing His spirit. (pg. 312, Christianity and the Survival of Creation) ↗
#creation #excellence #god #nature #respect
Arguments for preservation based on the beauty of wilderness are sometimes treated as if they were of little weight because they are "merely aesthetic". That is a mistake. We go to great lengths to preserve the artistic treasures of earlier human civilisations. It is difficult to imagine any economic gain that we would be prepared to accept as adequate compensation for, for instance, the destruction of the paintings in the Louvre. How should we compare the aesthetic value of wilderness with that of the paintings in the Louvre? Here, perhaps, judgment does become inescapably subjective; so I shall report my own experiences. I have looked at the paintings in the Louvre, and in many of the other great galleries of Europe and the United States. I think I have a reasonable sense of appreciation of the fine arts; yet I have not had, in any museum, experiences that have filled my aesthetic senses in the way that they are filled when I walk in a natural setting and pause to survey the view from a rocky peak overlooking a forested valley, or by a stream tumbling over moss-covered boulders set amongst tall tree-ferns, growing in the shade of the forest canopy, I do not think I am alone in this; for many people, wilderness is the source of the greatest feelings of aesthetic appreciation, rising to an almost mystical intensity. ↗
The surpluses will have to be expended somehow, and trust the oligarchs to find a way. Magnificent roads will be built. There will be great achievements in science, and especially in art. When the oligarchs have completely mastered the people, they will have time to spare for other things. They will become worshippers of beauty. They will become art-lovers. And under their direction and generously rewarded, will toil the artists. The result will be great art; for no longer, as up to yesterday, will the artists pander to the bourgeois taste of the middle class. It will be great art, I tell you, and wonder cities will arise that will make tawdry and cheap the cities of old time. And in these cities will the oligarchs dwell and worship beauty ↗
Beauty! Wasn't that what mattered? Beauty was hardly a popular ideal at that jumpy moment in history. The masses had been desensitized to it, the intelligentsia regarded it with suspicion. To most of her peers, 'beauty' smacked of the rarefied, the indulgent, the superfluous, the effete. How could persons of good conscience pursue the beautiful when there was so much suffering and injustice in the world? Ellen Cherry's answer was that if one didn't cultivate beauty, soon he or she wouldn't be able to recognize ugliness. The prevalence of social ugliness made commitment to physical beauty all the more essential. And the very presence in life of double-wide mobile homes, Magic Marker graffiti, and orange shag carpeting had the effect of making ills such as poverty, crime, repression, pollution, and child abuse seem tolerable. In a sense, beauty was the ultimate protest, and, in that it generally lasted longer than an orgasm, the ultimate refuge. The Venus de Milo screamed 'No!' at evil, whereas the Spandex stretch pant, the macrame plant holder were compliant with it. Ugly bedrooms bred ugly habits. Of course, it wasn't required of beauty that it perform a social function. That was what was valuable about it. ↗
