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Frases de E.M. Forster
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Edward Morgan Forster, OM, CH fue un novelista, ensayista y libretista inglés. Sus obras abordan las diferencias de clase y la hipocresía de la sociedad británica de principios del siglo XX.

✵ 1. enero 1879 – 7. junio 1970   •   Otros nombres Е. М. Форстер
E.M. Forster Foto
E.M. Forster: 208   frases 5   Me gusta

Frases célebres de E.M. Forster

“Quizás nadie quisiese tal amor, pero podía ya no sentirse avergonzado de él, porque aquel amor era "él", no el cuerpo o el alma, no alma y cuerpo, sino "él" viviendo en ambos.”

E.M. Forster libro Maurice

Maurice

“Durham no podía esperar. La gente los rodeaba, pero con ojos que se habían vuelto intensamente azules murmuró:
—Que te amo.
Maurice se escandalizó, se horrorizó. Se estremeció hasta las raíces de su alma burguesa, y exclamó:"¡Oh, maldición!" Las palabras, los gestos, surgían de él antes de que pudiera evitarlo.”

E.M. Forster libro Maurice

Maurice

“Alec no era un héroe ni un dios, sino un hombre inmerso en una sociedad como él, para el que el mar y los bosques y la fresca brisa y el sol no preparaban ninguna apoteosis.”

E.M. Forster libro Maurice

Maurice

“El amor había fallado. El amor era una emoción a través de la cual podías a veces gozarte a ti mismo. No podía dar frutos.”

E.M. Forster libro Maurice

Maurice

“Amaba a los hombres y siempre los había amado. Ansiaba abrazarlos, mezclar con el de ellos su ser. Ahora que había perdido al hombre que correspondía a su amor, admitía aquello.”

E.M. Forster libro Maurice

Maurice

“En ese preciso momento el camino se abría y con una exclamación Lucy se encontró fuera del bosque. Luz y belleza la envolvía. Había ido a dar a una pequeña terraza que estaba cubierta de violetas de un extremo a otro.
- ¡Valor! -exclamó su compañero, erguido a unos seis pies de altura respecto a ella-. Valor y amor.
Ella no respondió. A sus pies el suelo se cortaba bruscamente dando paso a la panorámica. Violetas que se agrupaban alrededor de arroyos y corrientes y cascadas, regando la vertiente de la colina de azul, arremolinándose alrededor de los troncos de los árboles, formando lagunas en los agujeros, cubriendo la hierba con manchas de espuma azulada. Jamás volvería a haberlas en tal profusión. La terraza era el principio de lo bello, la fuente original donde la belleza hacía brotar agua que iba a la tierra.
De pie en el margen, como un nadador que se prepara, estaba el buen hombre. Pero no era el buen hombre que ella había pensado, y estaba solo.
George se había vuelto al oír su llegada. Por un momento la contempló, como si fuera alguien que bajaba de los cielos. Vio la radiante alegría en su cara, las flores que batían su vestido en olas azuladas. Los arbustos que la encerraban por encima. Subió rápidamente hasta donde estaba ella y la besó.
Antes de que ella pudiera decir algo, casi antes de que pudiera sentir nada, una voz llamó: ¡Lucy!, ¡Lucy!, ¡Lucy!. La señorita Bartlett, que era una mancha oscura en la panorámica, había roto el silencio de la vida.”

E.M. Forster libro A Room with a View

A Room with a View

“Cuando el amor se desvanece se le recuerda no como amor, sino como algo distinto. Bienaventurados los ignorantes que lo olvidan por completo, y no son conscientes de los anhelos y de los absurdos del pasado, de las largas conversaciones sin propósito.”

E.M. Forster libro Maurice

Maurice

“¿Me besarás?— dijo Maurice, mientras los gorriones despertaban sobre ellos en los aleros, y lejos, en los bosques, los palomos comenzaban a arrullarse.”

E.M. Forster libro Maurice

Maurice

E.M. Forster: Frases en inglés

“Pathos, piety, courage, — they exist, but are identical, and so is filth. Everything exists, nothing has value.”

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E.M. Forster libro A Passage to India

Fuente: A Passage to India (1924), Ch. 14

“Dead silence ensued, which was well enough for Ansell, to whom it merely meant that neither of us had any more to say. But to educated people silence matters; it is a token of stupidity and lack of invention.”

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E.M. Forster

Ansell
The Life to Come and other stories (1972)

“As for 'story' I never yet did enjoy a novel or play in which someone didn't tell me afterward that there was something wrong with the story, so that's going to be no drawback as far as I'm concerned. "Good Lord, why am I so bored"—"I know; it must be the plot developing harmoniously." So I often reply to myself, and there rises before me my special nightmare—that of the writer as craftsman, natty and deft.”

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E.M. Forster

Letter 104, to Forrest Reid, 19 June 1912
Selected Letters (1983-1985)

“One can run away from women, turn them out, or give in to them. No fourth course.”

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E.M. Forster

Fuente: Commonplace Book (1985), p. 92

“Your letter firmed me up a lot. It certainly is a comfort to know that my work is respected by someone whom I respect and am as fond as you. It confirms my beliefe that life is notall nonsense and cruelty—the inversion of Victorian complacency—but has hard spots of sense and love bobbing about in it here and there.”

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E.M. Forster

Letter 330, to Christopher Isherwood, 28 August 1938
Selected Letters (1983-1985)

“I had an interesting day's reading yesterday, with the sudden sensation of being in close contact with what I was reading. […] But as for reading how curious it is: all these books, their lore of the ages, waiting to be embraced but usually slipping out of one's nerveless hands on to the floor. When one reads properly it is as if a third person is present.”

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E.M. Forster

Letter 419, to William Plomer, 12 December 1957
Selected Letters (1983-1985)

“Pain is good, I'd say, when it's incidental to Love. In 'I give up my life for my friend' it is my friend, not my death, that matters. And sometimes I needn't give up my life for him, I can live for him, and with him, and the power of the spirit is then equally manifested, I should think.”

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E.M. Forster

Letter 285, to George Thomson, 1 August 1931
Selected Letters (1983-1985)

“Before the civil war, Pottibakia was a normal member of the Comity of Nations. She erected tariff walls, broke treaties, persecuted minorities, obstructed at conferences unless she was convinced there was no danger of a satisfactory solution; then she strained every nerve in the cause of peace.”

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E.M. Forster

What Does It Matter? A Morality
The Life to Come and other stories (1972)

“We are willing enough to praise freedom when she is safely tucked away in the past and cannot be a nuisance. In the present, amidst dangers whose outcome we cannot foresee, we get nervous about her, and admit censorship.”

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E.M. Forster

"The Tercentenary of the 'Areopagitica'"
Two Cheers for Democracy (1951)

“Only connect! That was the whole of her sermon. Only connect the prose and the passion, and both will be exalted, and human love will be seen at its height. Live in fragments no longer. Only connect, and the beast and the monk, robbed of the isolation that is life to either, will die.”

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E.M. Forster libro Howards End

Fuente: Howards End (1910), Ch. 22

“Always fatuity, vulgarity, as soon as human passion is touched. […] Just as some poetry is of the eye (form, colour) and some of the ear, so Keats is of the palate. Not only has he constant reference to its pleasures, but the general sensation after reading him is one of tasting. 'What's the harm?”

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E.M. Forster

Well, taste for some reason or the other can't carry one far into the world of beauty—that reason being perhaps that though you don't want comradership there you do want the possibility of comradership, and A cannot swallow B's mouthful by any possibility:....and this exclusiveness (to maunder on) also attaches to the physical side of sex though not the least to the spiritual.
Letter 162, to Malcolm Darling, 1 December 1916
Selected Letters (1983-1985)

“This title comes from a phrase from his 1938 essay "What I Believe" which is the first essay in the book.”

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E.M. Forster

Two Cheers for Democracy (1951)

“Music is the deepest of the arts and deep beneath the arts.”

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E.M. Forster

Harvard University Department of Music, Music and Criticism, A Symposium (May 1947; published 1948, p. 11 https://archive.org/details/musiccriticismsy00symp/page/10)

“Going to Bits. This phrase me to day and is indeed the one I have been looking for; not tragic, not mortal disintegration; only a central weakness which prevents me from concentrating or settling down I have so wanted to write and write ahead. The phrase "obligatory creation" has haunted me. I have so wanted to get out of my morning bath promptly: have decided to do so beforehand, and have then lain in it as usual and watched myself not getting out. It looks as if there is a physical as well as a moral break in the orders I send out. I have plenty of interesting thoughts but keep losing them like the post cards I have written, or like my cap. I can't clear anything up yet interrupt a 'good read' in order to clear up. I hope tomorrow to copy out a piece of someone else's prose: it is the best device known to me for taking one out of inself, Plunge into anothers minutiae.'”

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E.M. Forster

31-1-61

p. 224
Commonplace Book (1985)

“You can gather however that I know I am not a real artist, and at the same time am fearfully serious over my work and willing to sweat at atmosphere if it helps me do what I want. What I want, I think, is the sentimental, but the sentimental reached by no easy beaten track—I cannot explain myself properly, for you must remember (I forget it myself) that though 'clever' I have a small and cloudy brain, and cannot clear it by talking or reading philosophy.”

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E.M. Forster

Letter 60, to Robert Trevelyan, 28 October 1905
Selected Letters (1983-1985)

“The kingdom of music is not the kingdom of this world; it will accept those whom breeding and intellect and culture have alike rejected. The common place person begins to play, and shoots into the empyrean without effort, whilst we look up, marvelling how he has escaped us, and thinking how we could worship him and love him, would he but transalate his visions into human words, and his experiences into human actions.”

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E.M. Forster libro A Room with a View

Fuente: A Room with a View (1908), Ch. 3

“As for 'story' I never yet did enjoy a novel or play in which someone didn't tell me afterward that there was something wrong with the story, so that's going to be no drawback as far as I'm concerned. "Good Lord, why am I so bored"—"I know; it must be the plot developing harmoniously."”

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E.M. Forster

So I often reply to myself, and there rises before me my special nightmare—that of the writer as craftsman, natty and deft.
Letter 104, to Forrest Reid, 19 June 1912
Selected Letters (1983-1985)

“What puzzles me most is your criticism that he showed 'no sense of engagement.”

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E.M. Forster

I haven't met the expression before, and feel bound to comment on its totalitarian tang. Engagement not with the truth as the speaker apprehends it, but with the alleged opinion of the majority of listeners.
Letter 400, to John Morris, 12 January 1953
Selected Letters (1983-1985)

“Why can't we be friends now?' said the other, holding him affectionately. 'It's what I want. It's what you want.”

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E.M. Forster libro A Passage to India

But the horses didn't want it — they swerved apart: the earth didn't want it, sending up rocks through which riders must pass single file; the temple, the tank, the jail, the palace, the birds, the carrion, the Guest House, that came into view as they emerged from the gap and saw Mau beneath: they didn't want it, they said in their hundred voices 'No, not yet,' and the sky said 'No, not there.'
Fuente: A Passage to India (1924), Ch. 37

“There are moments when I feel Howards End peculiarly our own." "All the same, London's creeping.”

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E.M. Forster libro Howards End

She pointed over the meadow--over eight or nine meadows, but at the end of them was a red rust. "You see that in Surrey and even Hampshire now," she continued. "I can see it from the Purbeck Downs. And London is only part of something else, I'm afraid. Life's going to be melted down, all over the world." Margaret knew that her sister spoke truly. Howards End, Oniton, the Purbeck Downs, the Oderberge, were all survivals, and the melting-pot was being prepared for them. Logically, they had no right to be alive. One's hope was in the weakness of logic. Were they possibly the earth beating time?
Fuente: Howards End (1910), Ch. 44

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