What we seek, at the deepest level, is inwardly to resemble, rather than physically to possess, the objects and places that touch us through their beauty.
When you look at the Moon, you think, ‘I’m really small. What are my problems?’ It sets things into perspective. We should all look at the Moon a bit more often.
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.
To be shown love is to feel ourselves the object of concern: our presence is noted, our name is registered, our views are listened to, our failings are treated with indulgence and our needs are ministered to. And under such care, we flourish.
In Britain, because I live here, I can also run into problems of envy and competition. But all this is just in a day's work for a writer. You can't put stuff out there without someone calling you a complete fool. Oh, well.
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.
A dominant impulse on encountering beauty is to wish to hold on to it, to possess it and give it weight in one’s life. There is an urge to say, ‘I was here, I saw this and it mattered to me.
Perhaps it is true that we do not really exist until there is someone there to see us existing, we cannot properly speak until there is someone who can understand what we are saying in essence, we are not wholly alive until we are loved.
It is in dialogue with pain that many beautiful things acquire their value. Acquaintance with grief turns out to be one of the more unusual prerequisites of architectural appreciation. We might, quite aside from all other requirements, need to be a little sad before buildings can properly touch us.
Our sense of what is valuable will hence be radically distorted if we must perpetually condemn as tedious everything we lack, simply because we lack it.