Best 43 quotes of Georges Rodenbach on MyQuotes

Dissonance is as fatal in ailments of the mind as it is in those of the body.

The beauty of sorrow is superior to the beauty of life.

The essence of art that is at all noble is the DREAM, and this dream dwells only upon what is distant, absent, vanished, unattainable.

The main thing for inner contentment is to be in a state of grace. And there is an artistic state of grace, for art is a kind of religion.

A great melancholy was hanging in the air, giving their love a more languid, more tender feeling. It was like the love one feels before a separation, it was like love in a country where there is a war, in a town where epidemics are raging. A strong love, from feeling close to death. Here death reigned, it was as if the town were the Museum of Death. ("The Dead Town")

All lovers desire solitude in order to possess each other more completely. They create for each other a new universe inhabited by the two of them alone. ("The Dead Town")

As he made his way back to his home on the Dijver, along the canals, beside the calm waters, Borluut felt his regret, his remorse at having divulged his worries grow at the sight of the noble swans, sealed-in snow, which, prisoners of the canals, prey to the rain, the sadness of the bells, the shadow of the gables, have the modesty to remain silent and only complain, with a voice that is almost human, when they are about to die...

As he walked, the sad faded leaves were driven pitilessly around him by the wind, and under the mingling influences of autumn and evening, a craving for the quietude of the grave … overtook him with unwanted intensity.

Bartholomeus went on, 'I wanted to show that these objects are sensitive, suffer at the coming of night, faint at the departure of the last rays, which, by the way, also live in this room; they suffer as much, they fight against the darkness. There you have it. It's the life of things, if you like. The French would call it a nature morte, a picture of inanimate objects. That is not what I'm trying to show. Flemish puts it better: a still life.

Besides that, his secret - and principal - reason for retiring was to devote himself entirely to his idée fixe, his collection which was becoming ever larger and more complicated. Van Hulle's concern was no longer simply to have beautiful clocks or rare timepieces; his feelings for them were not simply those one has for inanimate objects. True, their outward appearance was still important, their craftsmanship, their mechanisms, heir value as works of art, but the fact that he had collected so many was for a different reason entirely. It was a result of his strange preoccupation with the exact time. It was no longer enough for him that they were interesting. He was irritated by the differences in time they showed. Above all when they struck the hours and the quarters. One, very old, was deranged and got confused in keeping count of the passage of time, which it had been doing for so long. Others were behind, little Empire clocks with children's voices almost, as if they had not quite grown up. In short, the clocks were always at variance. They seemed to be running after each other, calling out, getting lost, looking for each other at all the changing crossroads of time.

But any great happiness is a bright light, a challenge to fate to do its worst. There must not be people who are too happy. They would discourage all the rest, to whom life grants nothing more than unexceptional moments, intermittent joys, roses that have to be watered with tears.

Contemporary architecture was of necessity mediocre.

Does it not sometimes happen in life that our actions are solely for an enemy, so as to stand up to him, to confound him, to humiliate him by a finer effort or a more difficult victory? Without him we might perhaps give up. Having an enemy stimulates us, gives us strength. In him we hope to defeat the universe and the malevolence of fate.

Gripped by a feverish urge to climb, he felt like running up the stone stairs. People often talk of the attraction of the abyss. There is also the abyss above. Borluut was still going up; he would have liked to keep on going up for ever, melancholy at the thought that the stairway was doubtless going to stop and that at the end, on the edge of the air, he would still yearn to continue, go farther, higher.

He felt alone, prey to the tedium, to the dreariness of time, especially at the approach of twilight which, during those late-autumn days, came in through the windows, settling on the furniture with a leaden pallor, sending the mirrors into mourning at light's farewell ...

He felt more cheerful, revived by the journey, released from himself and his poor life, uplifted by thoughts of the infinite.

He mostly preached in the evening, when the college church was already shrouded in shadow. And he chose subjects that filled the imagination with salutary fear—sin, Hell, death—painting pictures that were sometimes cajoling, more often harrowing, evoking the effects of the fire on the damned. The little group of pupils listened, apprehensive, sometimes terrified, a distraught flock whose black shepherd is gesticulating towards distant flames.

It could be said that Borluut was in love with the town. But we only have one heart for all our loves, consequently his love was somewhat like the affection one feels for a woman, the devotion one entertains for a work of art, for a religion. He loved Bruges for its beauty and, like a lover, he would have loved it the more, the more beautiful it was. His passion had nothing to do with the local patriotism which unites those living in a town through habits, shared tastes, alliances, parochial pride. On the contrary, Borluut was almost solitary, kept himself apart, mingled little with the slow-witted inhabitants. Even out in the streets he scarcely saw the passers-by. As a solitary wanderer, he began to favour the canals, the weeping trees, the tunnel bridges, the bells he could sense in the air, the old walls of the old districts. Instead of living beings, his interest focused on things. The town took on a personality, became almost human. He loved It, wished to embellish it, to adorn its beauty, a beauty mysterious in its sadness. And, above all, so unostentatious. Other towns are showy, amassing palaces, terraced gardens, fine geometrical monuments. Here everything was muted, nuanced. Storiated architecture, facades like reliquaries, stepped gables, trefoil doors and windows, ridges crowned with finials, mouldings, gargoyles, bas-reliefs - incessant surprises making the town into a kind of complex landscape of stone. It was a mixture of Gothic and Renaissance, that sinuous transition which suddenly draws out forms that are too rigid and too bare in supple, flowing lines. It was if an unexpected spring had sprouted on the walls, as if they had been transubstantiated by a dream - all at once there were faces and bunches of flowers on them. This blossoming on the facades had lasted until the present, blackened by the ravages of time, abiding but already blurred.

It is distance that creates nostalgia.

It was van Hulle who had been the initiator of this restoration of their ancestral language to its former glory as a means of reawakening national consciousness. He had called conferences and incited a vast number of people to petition the authorities. He was truly the first apostle of the Movement, to which people like Borluut, Farazyn and Bartholomeus had rallied. Now the drive was slackening. None of their hopes had been realised, apart from the use of the Flemish language. And now that point had been conceded, they saw that it had not produced any important changes for Bruges. At most it was as if a dead body had been put in a different coffin.

Nothing goes unobserved in that strict town where people lack occupation. Malicious curiosity there has even invented what is known as a busybody, that is a double mirror fixed to the outside of the windowledge so that the streets can be monitored even from inside the houses, all the comings and goings watched, a kind of trap to catch all the exits and entrances the encounters and gestures that do not realize they are being observed, the looks that prove everything.

Now Borluut was seeing it from close to. And to its very end, it seemed, from the way the line of the horizon merged into the infinite. It was bare. Not one ship. It ground out a dirge, in a glaucous tone, opaque, uniform. One sensed that all the colours were below, but faded. At the edge, the waves spilling onto the shore made a sound of washerwomen beating sheets of white linen, a whole supply of shrouds for future storms.

Now they came, spectres in mourning, humbling themselves, ghosts, their eyes the only points of brightness. It was harrowing: a long cortege of shadows. This time silence had come flooding in. Not a sound, not a cry. A silence all the more sinister for being black. There is the white silence of the Beguines' workrooms; it is sweet. Here was a black silence that strikes terror to the heart, slipping past like water, as full of pitfalls as the night. At first all that could be made out was a tangle of crosses, all the raised arms of the crosses of a graveyard. All with their dead.

Oh the joy of an idée fixe! The contentment of a life taken up some ideal, any ideal! A gentle trap to catch the infinite, like the sun in a piece of mirror in a child's hand.

Oh, the joy of the arrival of a child, which is both the one and the other, a mirror in which husband and wife, who love each other, can see each other in one single face.

Oh, the vanity of plans! Our lives proceed regardless. All the things we work out in such minute detail slip away from us at the last moment, or change.

On dirait que les projets de joie sont un défi.Trop longuement préparés,ils laissent le temps à la detinée de changer les oeufs dans le nid,et ce sont les chagrins qui nous faudra couver.

Ornamentation, festoons, carvings, cartouches, bas-reliefs, countless surprises among the sculptures - and the tones of the facades weathered by time and rain, the pinks of fading twilight, smoky blues, misty greys, a richness of mildew, brickwork ripened by the years, the hues of a ruddy or anaemic complexion.

She sinks. She sinks in holy sadness. Like an Ophelia in tears she sinks

Soon the air of the high place was blowing in through the gaps in the masonry, the open bays, where the wind flowed like water round the arches of a bridge. Borluut felt refreshed fanned by this sea-breeze coming from the beaches of the sky: It seemed to be sweeping up dead leaves inside him. New paths, leading elsewhere, appeared in his soul; fresh clearings were revealed. Finally he found himself. Total oblivion as a prelude to taking possession of one's self! He was like the first man on the first day to whom nothing has yet happened. The delights of metamorphosis. He owed them to the tall tower, to the summit he had gained where the battlemented platform was ready for him, a refuge in the infinite. From that height he could no longer see the world, he no longer understood it. Yes, each time he was seized with vertigo, with a desire to lose his footing, to throw himself off, but not towards the ground, into the abyss with its spirals of belfries and roofs over the depths of the town below. It was the abyss above of which he felt the pull. He was more and more bewildered. Everything was becoming blurred - before his eyes, inside his head - because of the fierce wind, the boundless space with nothing to hold on to, the clouds he had come too close to, which long continued to journey on inside him. The delights of sojourning among the summits have their price.

The act of writing itself is like an act of love. There is contact. There is exchange too. We no longer know whether the words come out of the ink onto the page, or whether they emerge from the page itself where they were sleeping, the ink merely giving them colour.

The crowd listened all the more closely for having waited and despaired, especially since this time the bells, ringing softly, demanded a deeper hush. The prelude was muted, a blend in which one could no longer distinguish bells alternating then coming together, it was a concert of bronze united, as if far off and very old. Music in a dream! It did not come from the tower, but from much farther away, from the depths of the sky, from the depths of time. This carillonneur had had the idea of playing some old Christmas carols, Flemish carols born of the race, mirrors in which it recognises itself. Like everything that has passed through the centuries, it was very solemn and a little sad.

The man did not attempt to deny it: 'Yes! It's the fault of this town.' The woman, pale and mournful, agreed: 'It's not our fault. Death is stronger than Love here.' ("The Dead Town")

Then he returned to his theme: 'If so many lovers feel the desire to die and more and more die each day, while still in love, it is because love and death are linked by analogies, by underground passages, and communicate. One leads to the other. The one makes the other more acute, more intense. There is no doubt that death is a great stimulant of love. ("Love And Death")

The only man who is truly happy is a man who has an idée fixe. It takes up his every minute, fills any empty spaces in his thought, sneaks unexpected pleasures into his boredom, gives direction to his idle hours, again and again enlivens the stagnant waters of existence with a surging current.

There are women whose love only ends with death.

The widower reviewed his past in a sunless light which was intensified by the greyness of the November twilight, whilst the bells subtly impregnated the surrounding atmosphere with the melody of sounds that faded like the ashes of dead years.

They sensed that nothing needed to be said. In silence, minds understand each other.

Thus the tower was both disease and cure. It rendered him unfit for the world and it remedied the hurts inflicted by the world.

Was that not the way it ought to be? The beauty of Bruges lay in being dead. From the top of the belfry it appeared completely dead to Borluut. He did not want to go back down ever again. His love for the town was greater, was endless. From now on it was a kind of frenzy, his final sensual pleasure. Constantly climbing high above the world, he started to enjoy death. There is danger in rising too high, into the unbreathable air of the summits. Disdain for the world, for life itself brings its own punishment.

Wilhelmine chatted on, chatted as if emboldened by the gathering dusk. She wasn't afraid any more. She didn't blush any more. And in this chatter without lamplight the dark seemed to suffuse her words as well. Her voice deepened. Darkness can have a strange influence. It has something religious about it and makes one speak in a low voice, as if in a church.

...without knowing why, he yielded to the temptation of those lips and flung onto them, eating them, partaking of their sacrament... Eucharist of love with a red host!

Yes, it was the love of woman that was the danger, the obstacle on which her dearest wish might founder. How it grieves mothers to tell themselves that, at the very moment it has occurred to them, there already exists a woman who is making her way towards their son from the depths of eternity.