Personal relations are the important thing for ever and ever, and not this outer life of telegrams and anger.
E. M. ForsterRead
The work of art assumes the existence of the perfect spectator, and is indifferent to the fact that no such person exists.
Interpretation
The quote suggests that art is created with an ideal audience in mind, regardless of the real audience's imperfections.
E. M. Forster's quote highlights the notion that art is often conceived with an ideal viewer or critic in mind, who perceives the work completely and perfectly. However, it also points out the disconnect between this ideal and reality, as no true spectator can embody perfection. This reveals a deep understanding of the subjective nature of art appreciation and the challenge artists face in connecting with their audience.
In practice
This quote would be perfect for a discussion on the role of the audience in art classes.
Personal relations are the important thing for ever and ever, and not this outer life of telegrams and anger.
A poem is true if it hangs together. Information points to something else. A poem points to nothing but itself.
One must be fond of people and trust them if one is not to make a mess of life.
Oxford is Oxford: not a mere receptacle for youth, like Cambridge. Perhaps it wants its inmates to love it rather than to love one another.
The fact is we can only love what we know personally. And we cannot know much. In public affairs, in the rebuilding of civilization, something less dramatic and emotional is needed, namely tolerance.
One person with passion is better than forty people merely interested.
People think that my favorite roles to do are villains, but I find comedy to be the most challenging and rewarding.
We get so many people saying short fiction is not economical, that it doesn't sell; but there are so many of us enjoying writing it and reading it. So it's wonderful to be around people who love short fiction too - it's like hanging around with my tribe.
When I record an album I'm trying to get as close as possible to that perfect moment.
I change the language with which I use my voice. In opera, I know I have an orchestra behind me; I have to communicate to people very far from me.
The camera sees more than the eye, so why not make use of it?
I want to photograph the considerable ceremonies of our present. I want to gather them, like somebody's grandmother putting up preserves, because they will have been so beautiful.
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