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E. M. Forster

Edward Morgan Forster, generally published as E.M. Forster, was an novelist, essayist, and short story writer. He is known best for his ironic and well-plotted novels examining class difference and hypocrisy in early 20th-century British society. His humanistic impulse toward understanding and sympathy may be aptly summed up in the epigraph to his 1910 novel Howards End: "Only connect".

He had five novels published in his lifetime, achieving his greatest success with A Passage to India (1924) which takes as its subject the relationship between East and West, seen through the lens of India in the later days of the British Raj.

Forster's views as a secular humanist are at the heart of his work, which often depicts the pursuit of personal connections in spite of the restrictions of contemporary society. He is noted for his use of symbolism as a technique in his novels, and he has been criticised for his attachment to mysticism. His other works include Where Angels Fear to Tread (1905), The Longest Journey (1907), A Room with a View (1908) and Maurice (1971), his posthumously published novel which tells of the coming of age of an explicitly gay male character.


“The sense of purity is a puzzling, and at times a fearful thing. It seems so noble, and it starts at one with morality. But it is a dangerous guide, and can lead us away not only from what is gracious, but also from what is good.”
E. M. Forster
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“What indeed is there to say? To be or not to be married, that was the question, and they had decided it in the affirmative.”
E. M. Forster
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“…to descend from bright heaven to earth, whereon there are shadows because there are hills…”
E. M. Forster
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“I want you to have your own thoughts even when I hold you in my arms.”
E. M. Forster
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“I believe in aristocracy. . . — if that is the right word, and if a democrat may use it. Not an aristocracy of power, based upon rank and influence, but an aristocracy of the sensitive, the considerate and the plucky. Its members are to be found in all nations and classes, and all through the ages, and there is a secret understanding between them when they meet. They represent the true human tradition, the one permanent victory of our queer race over cruelty and chaos.”
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“He will work off his crudities in time. I rather mistrust young men who slip into life gracefully.”
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“È una stanza rovinata dagli uomini nel tentativo di renderla bella per le donne. Gli uomini non sanno quello che vogliamo.”
E. M. Forster
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“Il vento le scompigliava i capelli, il sole li glorificava.”
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“Aveva abbandonato ogni piano d'azione; l'amore è la cosa migliore.”
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“George had turned at the sound of her arrival. For a moment he contemplated her, as one who had fallen out of heaven. He saw radiant joy on her face, he saw the flowers beat against her dress in blue waves. The bushes above them closed. He stepped quickly forward and kissed her.”
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“But Humanity, in its desire for comfort, had over-reached itself. It had exploited the riches of nature too far. Quietly and complacently, it was sinking into decadence, and progress had come to mean the progress of the Machine.”
E. M. Forster
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“But nothing in India is identifiable, the mere asking of a question causes it to disappear and merge into something else.”
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“When we were only acquaintances, you let me be myself, but now you're always protecting me... I won't be protected. I will choose for myself what is ladylike and right. To shield me is an insult. Can't I be trusted to face the truth but I must get it second-hand through you? A woman's place!”
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“I taught him, 'he quavered, "to trust in love. I said:'when love comes, that is reality.' I said: 'Passion does not blind. No. Passion is sanity, and the woman you love, she is the only person you will ever really understand.”
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“It is so difficult - at least, I find it difficult - to understand people who speak the truth.”
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“And he felt dubious and discontented suddenly, and wondered whether he was really and truly successful as a human being.”
E. M. Forster
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“Oh, poor, poor fellow!' said Mrs. Elliot with a remorse that was sincere, though her congratulations would not have been.”
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“Don't believe those lies about intellectual people. They're only written to soothe the majority.”
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“In Maurice I tried to create a character who was completely unlike myself or what I supposed myself to be: someone handsome, healthy, bodily attractive, mentally torpid, not a bad business man and rather a snob. Into this mixture I dropped an ingredient that puzzles him, wakes him up, torments him and finally saves him.”
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“I knew you read the Symposium in the vac," he said in a low voice.Maurice felt uneasy."Then you understand - without me saying more - ""How do you mean?"Durham could not wait. People were all around them, but with eyes that had gone intensely blue he whispered, "I love you.”
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“He was interested in the sudden friendship between two women so apparently dissimilar as Miss Bartlett and Miss Lavish. They were always in each other's company, with Lucy a slighted third. Miss Lavish he believed he understood, but Miss Bartlett might reveal unknown depths of strangeness, though not, perhaps, of meaning.”
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“They cared for no one, they were outside humanity, and death, had it come, would only have continued their pursuit of a retreating horizon.”
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“I have, however, to live in an age of Faith — the sort of thing I used to hear praised and recommended when I was a boy. It is damned unpleasant, really. It is bloody in every sense of the word. And I have to keep my end up in it. Where do I start?With personal relationships. Here is something comparatively solid in a world full of violence and cruelty. Not absolutely solid... We don’t know what other people are like. How then can we put any trust in personal relationships, or cling to them in the gathering political storm? In theory we can’t. But in practice we can and do. Though A is unchangeably A or B unchangeably B, there can still be love and loyalty between the two. For the purpose of loving one has to assume that the personality is solid, and the “self” is an entity, and to ignore all contrary evidence. And since to ignore evidence is one of the characteristics of faith, I certainly can proclaim that I believe in personal relationships.”
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“A work of art is never finished. It is merely abandoned.”
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“Like many other who have lived long in a great capital, she had strong feelings about the various railway termini. They are our gates to the glorious and unknown. Through them we pass out into adventure and sunshine, to them, alas! we return. In Paddington all Cornwall is latent and the remoter west; down the inclines of Liverpool Street lie fenlands and the illimitable Broads; Scotland is through the pylons of Euston; Wessex behind the poised chaos of Waterloo. Italians realize this, as is natural; those of them who are so unfortunate as to serve as waiters in Berlin call the Anhalt Bahnhof the Stazione d’Italia, because by it they must return to their homes. And he is a chilly Londoner who does not endow his stations with some personality, and extend to them, however shyly, the emotions of fear and love.”
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“London was beginning to illuminate herself against the night. Electric lights sizzled and jagged in the main thoroughfares, gas-lamps in the side streets glimmered a canary gold or green. The sky was a crimson battlefield of spring, but London was not afraid. Her smoke mitigated the splendour, and the clouds down Oxford Street were a delicately painted ceiling, which adorned while it did not distract.”
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“There are moments when the inner life actually 'pays,' when years of self-scrutiny, conducted for no ulterior motive, are suddenly of practical use.”
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“And if insight were sufficient, if the inner life were the whole of life, their happiness has been assured.”
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“I don't intend him, or any man or any woman, to be all my life - good heavens, no! There are heaps of things in me that he doesn't, and shall never, understand.”
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“An acquaintance had become a lover, might become a husband, but would retain all that she had noted in the acquaintance; and love must confirm an old relation rather than reveal a new one.”
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“I believe we shall come to care about people less and less, Helen. The more people one knows, the easier it becomes to replace them. It's one of the curses of London. I quite expect to end my life caring most for a place.”
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“As I said, either friends or the country, some . . . either some very dear person or some very dear place seems necessary to relieve life's daily grey, and to show that it is grey. If possible, one should have both.”
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“By the side of the everlasting Why there is a Yes--a transitory Yes if you like, but a Yes.”
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“The main facts in human life are five: birth, food, sleep, love and death.”
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“I cannot help thinking that there is something to admire in everyone, even if you do not approve of them.”
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“Only connect the prose and the passion, and both will be exalted, and human love will be seen at its highest. Live in fragments no longer.”
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“Nature pulls one way and human nature another.”
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“There is much that is immortal in this medieval lady. The dragons have gone, and so have the knights, but still she lingers in our midst. She reigned in many an early Victorian castle, and was Queen of much early Victorian song. It is sweet to protect her in the intervals of business, sweet to pay her honour when she has cooked our dinner well. But alas! the creature grows degenerate. In her heart also there are springing up strange desires. She too is enamoured of heavy winds, and vast panoramas, and green expanses of the sea. She has marked the kingdom of this world, how full it is of wealth, and beauty, and war--a radiant crust, built around the central fires, spinning towards the receding heavens. Men, declaring that she inspires them to it, move joyfully over the surface, having the most delightful meetings with other men, happy, not because they are masculine, but because they are alive. Before the show breaks up she would like to drop the august title of the Eternal Woman, and go there as her transitory self.”
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“I am a Jane Austenite, and therefore slightly imbecile about Jane Austen. My fatuous expression, and airs of personal immunity—how ill they sit on the face, say, of a Stevensonian! But Jane Austen is so different. She is my favourite author! I read and reread, the mouth open and the mind closed. Shut up in measureless content, I greet her by the name of most kind hostess, while criticism slumbers.”
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“She could not explain in so many words, but she felt that those who prepare for all the emergencies of life beforehand may equip themselves at the expense of joy.”
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“It was pleasant to wake up in Florence, to open the eyes upon a bright bare room, with a floor of red tiles which look clean though they are not; with a painted ceiling whereon pink griffins and blue amorini sport in a forest of yellow violins and bassoons. It was pleasant, too, to fling wide the windows, pinching the fingers in unfamiliar fastenings, to lean out into sunshine with beautiful hills and trees and marble churches opposite, and, close below, Arno, gurgling against the embankment of the road.”
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“In Europe life retreats out of the cold, and exquisite fireside myths have resulted—Balder, Persephone—but [in India] the retreat is from the source of life, the treacherous sun, and no poetry adorns it because disillusionment cannot be beautiful. Men yearn for poetry though they may not confess it; they desire that joy shall be graceful and sorrow august and infinity have a form, and India fails to accommodate them.”
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“She had come to that state where the horror of the universe and its smallness are both visible at the same time—the twilight of the double vision in which so many elderly people are involved. If this world is not to our taste, well, at all events, there is Heaven, Hell, Annihilation—one or other of those large things, that huge scenic background of stars, fires, blue or black air. All heroic endeavour, and all that is known as art, assumes that there is such a background, just as all practical endeavour, when the world is to our taste, assumes that the world is all. But in the twilight of the double vision, a spiritual muddledom is set up for which no high-sounding words can be found; we can neither act nor refrain from action, we can neither ignore nor respect Infinity.”
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“Take an old man's word; there's nothing worse than a muddle in all the world. It is easy to face Death and Fate, and the things that sound so dreadful. It is on my muddles that I look back with horror - on the things that I might have avoided. We can help one another but little. I used to think I could teach young people the whole of life, but I know better now, and all my teaching of George has come down to this: beware of muddle.”
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“It is fate that I am here,' George persisted, 'but you can call it Italy if it makes you less unhappy.”
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“Works of art, in my opinion, are the only objects in the material universe to possess internal order, and that is why, though I don't believe that only art matters, I do believe in Art for Art's sake.”
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“What is wonderful about great literature is that it transforms the man who reads it towards the condition of the man who wrote.”
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“I seem fated to pass through the world without colliding with it or moving it — and I'm sure I can't tell you whether the fate's good or evil. I don't die — I don't fall in love. And if other people die or fall in love they always do it when I'm just not there.”
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