Quotes about castle
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Charlie Brooker photo
Frances Power Cobbe photo
Harry Chapin photo
Taliesin photo
Isabel II do Reino Unido photo

“Although we must leave you,
Fair Castle of Mey,
We shall never forget,
Nor will never repay,
A meal of such splendour,
Repast of such zest,
It will take us to Sunday,
Just to digest.
To leafy Balmoral,
We are now on our way,
But our hearts will remain
At the Castle of Mey.
With your gardens and ranges,
And all your good cheer,
We will be back again soon
So roll on next year.”

Isabel II do Reino Unido (1926–2022) queen of the UK, Canada, Australia, and New Zealand, and head of the Commonwealth of Nations

Ode to the Castle of Mey, recorded in the visitors' book at the Castle of Mey, in Caithness, during a visit to the Queen Mother, 1993. http://news.bbc.co.uk/1/hi/entertainment/3049709.stm

Joey Comeau photo
Thomas Haynes Bayly photo

“The mistletoe hung in the castle hall,
The holly-branch shone on the old oak wall.”

Thomas Haynes Bayly (1797–1839) English poet, songwriter, dramatist, and writer

The Mistletoe Bough, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

Miguel de Cervantes photo

“Building castles in the air, 36 and making yourself a laughing-stock.”

Miguel de Cervantes (1547–1616) Spanish novelist, poet, and playwright

Source: Don Quixote de la Mancha (1605–1615), Part II (1615), Book III, Ch. 31.

Andreas Schelfhout photo

“Here are 3 drawings that I have made for You. It will be satisfactory, if it will meet your expectation and what it is for [to make a painting]. The two landscapes are thoughts, but the one that suggests the moonlight is the castle at Doorenwaart in Gelderland. I also painted a painting of that subject which I enjoyed a lot in Amsterdam [because, purchased there by A. B. Roothaan there] (translation from original Dutch: Fons Heijnsbroek)”

Andreas Schelfhout (1787–1870) Dutch painter, etcher and lithographer

(original Dutch, citaat van Schelfhout, uit zijn brief:) Hierbij 3 teekeningen die ik voor UE. Vervaardigd hebt, het zal mij genoegelijk zijn, indien dezelve aan uwe verwachting en aan het [doel], waar voor zie dienen moeten [voor het maken van een schilderij], zullen beantwoorden. De 2 landschapjes zijn gedachten, maar het gene dat het maanlicht voorsteld, is het kasteel te Doorenwaart in Gelderland. Ik heb ook van dat zelve onderwerp een schilderij geschilderd waar van ik veel genoege gehad heb te Amsterdam [aangekocht door A. B. Roothaan aldaar]
Quote of Schelfhout in his letter to , 2 Dec. 1823; as cited in Andreas Schelfhout - landschapschilder in Den Haag, Cyp Quarles van Ufford, Primavera Pers, (ISBN 978-90-5997-066-3), Leiden, p. 49

Walter Scott photo
İsmail Enver photo
Jorge Luis Borges photo

“Besides, time, which despoils castles, enriches verses... Time broadens the scope of verses and I know of some which, like music, are everything for all men.”

Jorge Luis Borges (1899–1986) Argentine short-story writer, essayist, poet and translator, and a key figure in Spanish language literature

"Averroës' Search" (1949)

Hilaire Belloc photo
William Cecil, 1st Baron Burghley photo
Peter Greenaway photo
Max Scheler photo

“"Another situation generally exposed to ressentiment danger is the older generation's relation with the younger. The process of aging can only be fruitful and satisfactory if the important transitions are accompanied by free resignation, by the renunciation of the values proper to the preceding stage of life. Those spiritual and intellectual values which remain untouched by the process of aging, together with the values of the next stage of life, must compensate for what has been lost. Only if this happens can we cheerfully relive the values of our past in memory, without envy for the young to whom they are still accessible. If we cannot compensate, we avoid and flee the “tormenting” recollection of youth, thus blocking our possibilities of understanding younger people. At the same time we tend to negate the specific values of earlier stages. No wonder that youth always has a hard fight to sustain against the ressentiment of the older generation. Yet this source of ressentiment is also subject to an important historical variation. In the earliest stages of civilization, old age as such is so highly honored and respected for its experience that ressentiment has hardly any chance to develop. But education spreads through printing and other modern media and increasingly replaces the advantage of experience. Younger people displace the old from their positions and professions and push them into the defensive. As the pace of “progress” increases in all fields, and as the changes of fashion tend to affect even the higher domains (such as art and science), the old can no longer keep up with their juniors. “Novelty‟ becomes an ever greater value. This is doubly true when the generation as such is seized by an intense lust for life, and when the generations compete with each other instead of cooperating for the creation of works which outlast them. “Every cathedral,” Werner Sombart writes, “every monastery, every town hall, every castle of the Middle Ages bears testimony to the transcendence of the individual's span of life: its completion spans generations which thought that they lived for ever. Only when the individual cut himself loose from the community which outlasted him, did the duration of his personal life become his standard of happiness.” Therefore buildings are constructed ever more hastily—Sombart cites a number of examples. A corresponding phenomenon is the ever more rapid alternation of political regimes which goes hand in hand with the progression of the democratic movement. But every change of government, every parliamentary change of party domination leaves a remnant of absolute opposition against the values of the new ruling group. This opposition is spent in ressentiment the more the losing group feels unable to return to power. The “retired official” with his followers is a typical ressentiment figure. Even a man like Bismarck did not entirely escape from this danger."”

Max Scheler (1874–1928) German philosopher

Das Ressentiment im Aufbau der Moralen (1912)

Humphrey Lyttelton photo

“One musn’t be misled by the amiable, bumbling persona. He is a toughly intelligent man moving confidently in any kind of surroundings from Windsor Castle to Birdland.”

Humphrey Lyttelton (1921–2008) English jazz trumpeter

Philip Larkin http://www.timesonline.co.uk/tol/comment/obituaries/article3827144.ece
About

“People have this image of me as an ethereal Lady of Shalott, floating across the battlements, but it's a very small castle as castles go — with no big ballrooms…”

Enya (1961) Irish singer, songwriter, and musician

You interview (2006)
Context: I live in Victorian Gothic castle in Killiney that I was so bold as to rename Manderley, because Daphne du Maurier 's Rebecca is one of my favourite books.... People have this image of me as an ethereal Lady of Shalott, floating across the battlements, but it's a very small castle as castles go — with no big ballrooms... I don't write my music in my home, only in the studio; I want as normal life as possible at home, with dinner parties and entertaining.

Henri Lefebvre photo

“Castles, palaces, cathedrals, fortresses, all speak in their various ways of the greatness and the strength of the people who built them and against whom they were built.”

Henri Lefebvre (1901–1991) French philosopher

From Critique of Everyday Life: Volume 1 (1947/1991)
Context: Everything great and splendid is founded on power and wealth. They are the basis of beauty. This is why the rebel and the anarchic protester who decries all of history and all the works of past centuries because he sees in them only the skills and the threat of domination is making a mistake. He sees alienated forms, but not the greatness within. The rebel can only see to the end of his own ‘private’ consciousness, which he levels against everything human, confusing the oppressors with the oppressed masses, who were nevertheless the basis and the meaning of history and past works. Castles, palaces, cathedrals, fortresses, all speak in their various ways of the greatness and the strength of the people who built them and against whom they were built. This real greatness shines through the fake grandeur of rulers and endows these buildings with a lasting ‘beauty’. The bourgeoisie is alone in having given its buildings a single, over-obvious meaning, impoverished, deprived of reality: that meaning is abstract wealth and brutal domination; that is why it has succeeded in producing perfect ugliness and perfect vulgarity. The man who denigrates the past, and who nearly always denigrates the present and the future as well, cannot understand this dialectic of art, this dual character of works and of history. He does not even sense it. Protesting against bourgeois stupidity and oppression, the anarchic individualist is enclosed in ‘private’ consciousness, itself a product of the bourgeois era, and no longer understands human power and the community upon which that power is founded. The historical forms of this community, from the village to the nation, escape him. He is, and only wants to be, a human atom (in the scientifically archaic sense of the word, where ‘atom’ meant the lowest isolatable reality). By following alienation to its very extremes he is merely playing into the hands of the bourgeoisie. Embryonic and unconscious, this kind of anarchism is very widespread. There is a kind of revolt, a kind of criticism of life, that implies and results in the acceptance of this life as the only one possible. As a direct consequence this attitude precludes any understanding of what is humanly possible.

Phillips Brooks photo

“There are two ways of defending a castle; one by shutting yourself up in it, and guarding every loop-hole; the other by making it an open centre of operations from which all the surrounding country may be subdued. Is not the last the truest safety? Jesus was never guarding Himself, but always invading the lives of others with His holiness.”

Phillips Brooks (1835–1893) American clergyman and author

Reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 108.
Context: There are two ways of defending a castle; one by shutting yourself up in it, and guarding every loop-hole; the other by making it an open centre of operations from which all the surrounding country may be subdued. Is not the last the truest safety? Jesus was never guarding Himself, but always invading the lives of others with His holiness. There never was such an open life as His; and yet the force with which His character and love flowed out upon the world kept back, more strongly than any granite wall of prudent caution could have done, the world from pressing in on Him. His life was like an open stream which keeps the sea from flowing up into it by the eager force with which it flows down into the sea. He was so anxious that the world should be saved that therein was His salvation from the world. He labored so to make the world pure that He never even had to try to be pure Himself.

John Buchan photo

“We think our castles of sand are the ramparts of the universe.”

Source: The Power-House (1916), Ch. 3 "Tells of a Midsummer Night"
Context: When all is said, we are ruled by the amateurs and the second-rate. The methods of our departments would bring any private firm to bankruptcy. The methods of Parliament — pardon me — would disgrace any board of directors. Our rulers pretend to buy expert knowledge, but they never pay the price for it that a business man would pay, and if they get it they have not the courage to use it. Where is the inducement for a man of genius to sell his brains to our insipid governors?
And yet knowledge is the only power — now as ever. A little mechanical device will wreck your navies. A new chemical combination will upset every rule of war. It is the same with our commerce. One or two minute changes might sink Britain to the level of Ecuador, or give China the key of the world's wealth. And yet we never dream that these things are possible. We think our castles of sand are the ramparts of the universe.

Thomas Carlyle photo

“Not all his men may sever this,
 It yields to friends', not monarchs', calls;
My whinstone house my castle is—
 I have my own four walls.”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

“My Own Four Walls” (c. 1825)
1820s

J. Howard Moore photo

“In their phenomena of life the inhabitants of the earth display endless variety. They swim in the waters, soar in the skies, squeeze among the rocks, clamber among the trees, scamper over the plains, and glide among the grounds and grasses. Some are born for a summer, some for a century, and some flutter their little lives out in a day. They are black, white, blue, golden, all the colours of the spectrum. Some are wise and some are simple; some are large and some are microscopic; some live in castles and some in bluebells; some roam over continents and seas, and some doze their little day-dream away on a single dancing leaf. But they are all the children of a commion mother and the co-tenants of a common world. Why they are here in this world rather than some place else; why the world in which they find themselves is so full of the undesirable; and whether it would not have been better if the ball on which they ride and riot had been in the beginning sterilised, are problems too deep and baffling for the most of them. But since they are here, and since they are too proud or too superstitious to die, and are surrounded by such cold and wolfish immensities, what would seem more proper than for them to be kind to each other, and helpful, and dwell together as loving and forbearing members of One Great Family?”

J. Howard Moore (1862–1916)

"Conclusion", pp. 324–325
The Universal Kinship (1906), The Ethical Kinship

Theodor Reuss photo

“Gurnemanz is still not absolutely certain that Parsifal is pure and a fool, as he makes the decision to lead Parsifal to the castle of the Graal, for Gurnemanz sang after they both had walked a while: Now pay attention, and let me see, if you are a fool and if you are pure …!”

Theodor Reuss (1855–1923) German singer

The test, if he is a pure fool, shall come to Parsifal first in the Temple of the Graal! This point cannot be worked out further here.
II. Main Part : The Unveiling of the Secret.
Parsifal and the Secret of the Graal Unveiled (1914)

G. K. Chesterton photo

“When the business man rebukes the idealism of his office-boy, it is commonly in some such speech as this: “Ah, yes, when one is young, one has these ideals in the abstract and these castles in the air; but in middle age they all break up like clouds, and one comes down to a belief in practical politics, to using the machinery one has and getting on with the world as it is.””

G. K. Chesterton (1874–1936) English mystery novelist and Christian apologist

Thus, at least, venerable and philanthropic old men now in their honoured graves used to talk to me when I was a boy. But since then I have grown up and have discovered that these philanthropic old men were telling lies. What has really happened is exactly the opposite of what they said would happen. They said that I should lose my ideals and begin to believe in the methods of practical politicians. Now, I have not lost my ideals in the least; my faith in fundamentals is exactly what it always was. What I have lost is my old childlike faith in practical politics.
"The Ethics of Elfland" https://www.ccel.org/ccel/chesterton/orthodoxy.vii.html in Delphi Works of G. K. Chesterton

Neil Young photo
Thomas Babington Macaulay, 1st Baron Macaulay photo
Nicolás Gómez Dávila photo

“The supreme aristocrat is not the feudal lord in his castle but the contemplative monk in his cell.”

Nicolás Gómez Dávila (1913–1994) Colombian writer and philosopher

Escolios a un Texto Implicito (1977), Volume One

Teal Swan photo
Amor Towles photo

“A king fortifies himself with a castle, a gentleman with a desk.”

Amor Towles (1964) American novelist

Source: A Gentleman In Moscow