The moment we cry in a film is not when things are sad but when they turn out to be more beautiful than we expected them to be.
ALAIN DE BOTTONHe did not mean to depress us, rather to free us from expectations which inspire bitterness. It is consoling, when love has let us down, to hear that happiness was never part of the plan.
More Alain de Botton Quotes
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It is perhaps when our lives are at their most problematic that we are likely to be most receptive to beautiful things.
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Out of the millions of people we live among, most of whom we habitually ignore and are ignored by in turn, there are always a few that hold hostage our capacity for happiness, whom we could recognize by their smell alone and whom we would rather die than be without.
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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.
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Socrates, on being insulted in the marketplace, asked by a passerby, “Don’t you worry about being called names?” retorted, “Why? Do you think I should resent it if an ass had kicked me?
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Wealth is not an absolute. It is relative to desire. Every time we yearn for something we cannot afford, we grow poorer, whatever our resources. And every time we feel satisfied with what we have, we can be counted as rich, however little we may actually possess.
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True respectability stems not from the will of the majority but from proper reasoning.
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Not everyone is worth listening to.
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True love is a lack of desire to check one’s smartphone in another’s presence.
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Art cannot single-handedly create enthusiasm… it merely contributes to enthusiasm and guides us to be more conscious of feelings that we might previously have experienced only tentatively or hurriedly.
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I think people want to get married to end their emotional uncertainty. In a way, they want to end powerful feelings, or certainly the negative ones.
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People only get really interesting when they start to rattle the bars of their cages.
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It is striking how much more seriously we are likely to be taken after we have been dead a few centuries.
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Everyone wants a better life: very few of us want to be better people.
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What am I supposed to do here? What am I supposed to think?
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In the works of Lucretius, we find two reasons why we shouldn’t worry about death. If you have had a successful life, Lucretius tell us, there’s no reason to mind its end. And, if you haven’t had a good time, “Why do you seek to add more years, which would also pass but ill?”
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We are like an exquisite high-speed aircraft which for lack of a tiny part is left stranded beside the runway, rendered slower than a tractor or bicycle.
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One rarely falls in love without being as much attracted to what is interestingly wrong with someone as what is objectively healthy.
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If our lives are dominated by a search for happiness, then perhaps few activities reveal as much about the dynamics of this quest – in all its ardour and paradoxes – than our travels.
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Bad art might be defined as a series of bad choices about what to show and what to leave out.
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What kills us isn’t one big thing, but thousands of tiny obligations we can’t turn down for fear of disappointing others.
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Envy: a confused, tangled guide to one’s own ambitions.
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We need a home in the psychological sense as much as we need one in the physical: to compensate for a vulnerability.
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For paranoia about ‘what other people think’ : remember that only some hate, a very few love – and almost all just don’t care.
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Work finally begins when the fear of doing nothing exceeds the fear of doing it badly.
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In the oasis complex, the thirsty man images he sees water, palm trees, and shade not because he has evidence for the belief, but because he has a need for it. Desperate needs bring about a hallucination of their solution: thirst hallucinates water.
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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.
ALAIN DE BOTTON