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Beauty means this to one person, perhaps, and that to another. And yet when any one of us has seen or heard or read that which to him is beautiful, h… - John Galsworthy
" "Beauty means this to one person, perhaps, and that to another. And yet when any one of us has seen or heard or read that which to him is beautiful, he has known an emotion which is in every case the same in kind, if not in degree; an emotion precious and uplifting. A choirboy's voice, a ship in sail, an opening flower, a town at night, the song of the blackbird, a lovely poem, leaf shadows, a child's grace, the starry skies, a cathedral, apple trees in spring, a thorough-bred horse, sheep-bells on a hill, a rippling stream, a butterfly, the crescent moon — the thousand sights or sounds or words that evoke in us the thought of beauty — these are the drops of rain that keep the human spirit from death by drought. They are a stealing and a silent refreshment that we perhaps do not think about but which goes on all the time....It would surprise any of us if we realized how much store we unconsciously set by beauty, and how little savour there would be left in life if it were withdrawn. It is the smile on the earth's face, open to all, and needs but the eyes to see, the mood to understand.
English
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About John Galsworthy
John Galsworthy OM (14 August 1867 – 31 January 1933) was an English novelist and playwright. Notable works include The Forsyte Saga (1906–1921) and its sequels, A Modern Comedy and End of the Chapter. He won the Nobel Prize for literature in 1932.
Biography information from Wikiquote
Also Known As
Pen Names:
John Sinjohn
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Additional quotes by John Galsworthy
Is not the training of an artist a training in the due relation of one thing with another, and in the faculty of expressing that relation clearly; and, even more, a training in the faculty of disengaging from self the very essence of self — and passing that essence into other selves by so delicate means that none shall see how it is done, yet be insensibly unified? Is not the artist, of all men, foe and nullifier of partisanship and parochialism, of distortions and extravagance, the discoverer of that jack-o'-lantern — Truth; for, if Truth be not Spiritual Proportion I know not what it is. Truth it seems to me — is no absolute thing, but always relative, the essential symmetry in the varying relationships of life; and the most perfect truth is but the concrete expression of the most penetrating vision. Life seen throughout as a countless show of the finest works of Art; Life shaped, and purged of the irrelevant, the gross, and the extravagant; Life, as it were, spiritually selected — that is Truth; a thing as multiple, and changing, as subtle, and strange, as Life itself, and as little to be bound by dogma. Truth admits but the one rule: No deficiency, and no excess! Disobedient to that rule — nothing attains full vitality. And secretly fettered by that rule is Art, whose business is the creation of vital things.
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Some fifteen years ago in London there was an exhibition of the works of a certain sculptor, which contained many sane and admirable pieces. Two young ladies came in one day, and flitted from flower to flower with dissatisfied air, till at last one of them caught sight of a vast seated assemblage of elliptical rhomboids which was wooing the Public under the name of Venus. Before this supreme novelty she halted, if a butterfly can halt. ‘Oh, my dear,’ she said, ‘here she is! Here’s the Venus!’ And putting her head on one side, she added: ‘Isn’t she a pet?’ Such butterflies still exist and halt before the works of novelty for novelty’s sake, because they are told to by some town-crier, who must have novelty at any cost.
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