Alain de Botton Quotes

When Proust urges us to evaluate the world properly, he repeatedly reminds us of the value of modest scenes.

چطور می‌توان غم را نشان داد بدون اینکه تمامی آدم را فراگیرد؟

To have a sexual history did not only imply one had made love to a succession of people, it also suggested one had either rejected or been rejected by these same bedroom companions.

A world where a majority had imbibed the lessons implicit within tragic art would be one in which the consequences of our failures would necessarily cease to weigh upon us so heavily.

It follows that the balance we approve of in architecture, and which we anoint with the word 'beautiful', alludes to a state that, on a psychological level, we can describe as mental health or happiness. Like buildings, we, too, contain opposites which can be more or less successfully handled.

Symons … remarked that the most common and unhelpful illusion plaguing those who came to see him was the idea that they ought somehow, in the normal course of events, to have intuited—long before they had finished their degrees, started families, bought houses and risen to the top of law firms—what they should properly be doing with their lives. They were tormented by a residual notion of having through some error or stupidity on their part missed out on their true calling.

Though the terrain of frustration may be vast — from a stubbed toe to an untimely death — at the heart of every frustration lies a basic structure: the collision of a wish with an unyielding reality.

Love stories begin not when we fear someone may be unwilling to see us again, but when they decide they would have no objection to seeing us all the time; not when they have every opportunity to run away, but when they have exchanged solemn vows promising to hold us, and be held captive by us, for life.

It is not necessarily at home that we best encounter our true selves. The furniture insists that we cannot change because it does not; the domestic setting keeps us tethered to the person we are in ordinary life, who may not be who we essentially are.

Let death find us as we are building up our matchstick protests against its waves.

It is according to how we are able to answer the question of what we do (normally the first enquiry we will have to field in any new acquaintance) that the quality of our reception is likely to be decided.

Life is near-death experience.

Belittling others is no pastime for those convinced of their own standing. There is terror behind haughtiness. It takes a punishing impression of our own inferiority to leave others feeling that they aren’t good enough for us.

Must being in love always mean being in pain?

For thousands of years, it had been nature — and its supposed creator — that had had a monopoly on awe. It had been the icecaps, the deserts, the volcanoes and the glaciers that had given us a sense of finitude and limitation and had elicited a feeling in which fear and respect coagulated into a strangely pleasing feeling of humility, a feeling which the philosophers of the eighteenth century had famously termed the sublime.

But then had come a transformation to which we were still the heirs.... Over the course of the nineteenth century, the dominant catalyst for that feeling of the sublime had ceased to be nature. We were now deep in the era of the technological sublime, when awe could most powerfully be invoked not by forests or icebergs but by supercomputers, rockets and particle accelerators. We were now almost exclusively amazed by ourselves.