Quotes About Beauty

It is all very beautiful and magical here---a quality which cannot be described. You have to live it and breathe it, let the sun bake it into you. The skies and land are so enormous, and the detail so precise and exquisite that wherever you are you are isolated in a glowing world between the macro and the micro, where everything is sidewise under you and over you, and the clocks stopped long ago.

el silbido del jardinero, más lejano, destruía alhelíes y tulipanes en la tranquilidad sin remordimiento de los robles, yo preocupada por que el jardín no se convirtiese en una fosa común de flores difuntas

Once feeling would have been removed, you would have become unable to classify images as beautiful or ugly, pleasurable or painful, tasteful or vulgar, spiritual or earthy. If no feelings were available, you might still be trained, at great effort, to make aesthetic or moral classifications of objects or events. So might a robot, of course.

A dessert without cheese is like a beautiful woman with only one eye.

With such exquisite women there is little need for aphrodisiacs....

God went mad out of love for us. Then we must be very lovely. What we have stressed in the past is how lovely God must be that he can love us like this. But nobody has yet said how lovely we must be, that God could fall for us like this. Both are true.

To be in the state called love you must be sensitive to the uniqueness and beauty of every single thing and person around you.

Lou Reed: I am so susceptible to beauty.

I've been getting into Nick Drake lately, the folk singer. Sad, gorgeous stuff.

She walks like a ballerina in dance slippers, her feet as articulate as hands, a little vessel of grace moving out into the fog.

The way her fingers flutter through the space around her. Each a thing he hopes never to forget.

The sea is everything. It covers seven tenths of the globe . . . The sea is only a receptacle for all the prodigious, supernatural things that exist inside it. It is only movement and love; it is the living infinite.

It is my favorite thing, I think, that I have ever seen. Sometimes I catch myself staring at it and forget my duties. It seems big enough to contain everything anyone could ever feel.

Madame? What do I look like?" "You have many thousands of freckles." "Papa used to say they were like stars in heaven. Like apples in a tree.

Without habit, the beauty of the world would overwhelm us. We'd pass out every time we saw— actually saw— a flower. Imagine if we only got to see a cumulonimbus cloud or Cassiopeia or a snowfall once a century: there'd be pandemonium in the streets. People would lie by the thousands in the fields on their backs.

A good journal entry- like a good song, or sketch, or photograph- ought to break up the habitual and life away the film that forms over the eye, the finger, the tongue, the heart. A good journal entry ought to be a love letter to the world.

The stars were so many and so white they looked like chips of ice, hammered through the fabric of the sky.

By age seventeen he [Seymoure Sthulman]'d convinced himself that every human being he saw was a parasite, captive to the dictates of consumption. But as he reconstructs Zeno's translation, he realizes that the truth is infinitely more complicated, that we all are beautiful even as we are all part of the problem, and that to be a part of the problem is to be human.

It is not so much the science of snow for me, anymore. I'd rather just look at it. The light, the way it absorbs sound. The way we feel as if the more that falls, the more we are forgiven.

The mind craves ease; it encourages the senses to recognize symbols, to gloss. It makes maps of our kitchen drawers and neighborhood streets; it fashions a sort of algebra out of life. And this is useful, even essential - X is the route to work, Y is the heft and feel of a nickel between your fingers. Without habit, the beauty of the world would overwhelm us. We'd pass out every time we saw - actually saw - a flower.

He blinks; he has to swallow back tears. The parlor looks the same as it always has: two cribs beneath two Latin crosses, dust floating in the open mouth of the stove, a dozen layers of paint peeling off the baseboards. A needlepoint of Frau Elena's snowy Alsatian village above the sink. Yet now there is music. As if, inside Werner's head, an infinitesimal orchestra has stirred to life.

Studying ice crystals as a graduate student, he eventually found the basic design (equilateral, equiangled hexagon) so icily repeated, so unerringly conforming, that he couldn't help but shudder: Beneath the splendor--the filigreed blossoms, the microscopic stars--was a ghastly inevitability; crystals could not escape their embedded blueprints any more than humans could. Everything hewed to a rigidity of pattern, the certainty of death.

what I want to write about today is the sea. It contains so many colors. Silver at dawn, green at noon, dark blue in the evening. Sometimes it looks almost red. Or it will turn the color of old coins. Right now the shadows of clouds are dragging across it, and patches of sunlight are touching down everywhere. White strings of gulls drag over it like beads. It is my favorite thing, I think, that I have ever seen.

Still," he says, "certain things compel people. Pearls, for example, and sinistral shells, shells with a left-handed opening. Even the best scientists feel the urge now and then to put something in a pocket. That something so small could be so beautiful. Worth so much. Only the strongest people can turn away from feelings like that.