Quotes about cellar

A collection of quotes on the topic of cellar, down, likeness, going.

Quotes about cellar

Christopher Paolini photo
T.S. Eliot photo
John Ronald Reuel Tolkien photo
Kurt Vonnegut photo
Kurt Vonnegut photo
Georg Trakl photo
Mark Twain photo
Arthur Miller photo
John Ronald Reuel Tolkien photo

“It was like discovering a complete wine-filled cellar filled with bottles of an amazing wine of a kind and flavor never tasted before. It quite intoxicated me….”

John Ronald Reuel Tolkien (1892–1973) British philologist and author, creator of classic fantasy works

No. 163: On his discovery of Finnish language, in a letter to W. H. Auden (1955)
The Letters of J. R. R. Tolkien (1981)

Emo Philips photo

“When I was a kid my parents used to tell me, "Emo, don't go near the cellar door!"”

Emo Philips (1956) American comedian

One day when they were away, I went up to the cellar door. And I pushed it and walked through and saw strange, wonderful things, things I had never seen before, like... trees. Grass. Flowers. The sun... that was nice... the sun..
EMO² (1985)

Robert A. Heinlein photo
Dalton Trumbo photo
Suzanne Collins photo
Ambrose Bierce photo
Graham Joyce photo
Gaston Leroux photo
Winston S. Churchill photo

“No, bury them in caves and cellars. None must go. We are going to beat them.”

Minute (1 June 1940) in response to the suggestion of Kenneth Clark (Director of the National Gallery) that the National Gallery's paintings should be sent to Canada, quoted in Martin Gilbert, Finest Hour: Winston S. Churchill, 1939–1941 (London: Heinemann, 1983), p. 449
The Second World War (1939–1945)

“Nothing would sleep in that cellar, dank as a ditch”

Theodore Roethke (1908–1963) American poet

"Root Cellar," l. 1
The Lost Son and Other Poems (1948)

Tim Powers photo

“How old are you, Brian? You ought to know by now that something always breaks up love affairs unless both parties are willing to compromise themselves. And that compromising is harder to do the older and less flexible and more independent you are. It just isn’t in you, Brian. You could no more get married now than you could become a priest, or a sculptor, or a greengrocer.”
Duffy opened his mouth to voice angry denials, then one corner turned up and he closed it. “Damn you,” he said wryly. “Then why do I want to, half the time?”
Aurelianus shrugged. “It’s the nature of the species. There’s a part of a man’s mind that can only relax and go to sleep when he’s with a woman, and that part gets tired of always being tensely awake. It gives orders in so loud a voice that it often drowns out the other components. But when the loud one is asleep at last, the others regain control and chart a new course.” He grinned. “No equilibrium is possible. If you don’t want to put up with the constant seesawing, you must either starve the logical components or bind, gag and lock away in a cellar that one insistent one.”
Duffy grimaced and drank some more brandy. “I’m used to the rocking, and I was never one to get motion-sick,” he said. “I’ll stay on the seesaw.”

Aurelianus bowed. “You have that option, sir.”
Source: The Drawing of the Dark (1979), Chapter 18 (p. 247)

Robert A. Heinlein photo

“Like searching at midnight in a dark cellar for a black cat that isn’t there.”

Source: Starman Jones (1953), Chapter 11, “Through the Cargo Hatch” (p. 115)

Thomas Carlyle photo
Ursula K. Le Guin photo
William Congreve photo

“I came up stairs into the world, for I was born in a cellar.”

Act II, scene vii; comparable to: "Born in a cellar, and living in a garret", Samuel Foote, The Author, act 2; "Born in the garret, in the kitchen bred", Lord Byron, A Sketch
Love for Love (1695)

Paul A. Samuelson photo
John Wilmot, 2nd Earl of Rochester photo
Ray Bradbury photo
Pablo Neruda photo

“I do not want to be the inheritor of so many misfortunes.
I do not want to continue as a root and as a tomb,
as a solitary tunnel, as a cellar full of corpses,
stiff with cold, dying with pain.”

Pablo Neruda (1904–1973) Chilean poet

No quiero para mí tantas desgracias.
No quiero continuar de raíz y de tumba,
de subterráneo solo, de bodega con muertos
ateridos, muriéndome de pena.
Walking Around, Residencia II (Residence II), II, stanza 4-5.
Alternate translation by Donald D. Walsh:
I do not want for myself so many misfortunes.
I do not want to continue as root and tomb,
just underground, a vault with corpses
stiff with cold, dying of distress.
Residencia en la Tierra (Residence on Earth) (1933)

Thomas Love Peacock photo

“The mountain sheep are sweeter
But the valley sheep are fatter;
We therefore deemed it meeter
To carry off the latter.
We made an expedition;
We met a host, and quelled it;
We forced a strong position,
And killed the men who held it...

As we drove our prize at leisure,
The king marched forth to catch us:
His rage surpassed all measure,
But his people could not match us.
He fled to his hall-pillars;
And, ere our force we led off,
Some sacked his house and cellars,
While others cut his head off.”

Thomas Love Peacock (1785–1866) English novelist, poet, and official of the East India Company

"The War-Song of Dinas Vawr", stanzas 1 and 3, from The Misfortunes of Elphin, chapter XI (1829). In the same chapter this is described as "the quintessence of all the war-songs that ever were written, and the sum and substance of all the appetencies, tendencies, and consequences of military glory".

Booth Tarkington photo
Tom Robbins photo
Edward Lucie-Smith photo
Edgar Degas photo

“Draw all kind of everyday object placed, in such a way that they have in them the life of the man or woman – corsets that have just been removed, for example, and which retain the form of the body. Do a series in aquatint on mourning, different blacks – black veils of deep mourning floating on the face – black gloves – mourning carriages, undertaker’s vehicles – carriages like Venetian gondolas. On smoke – smoker’s smoke, pipes, cigarettes, cigars – smoke from locomotives, from tall factory chimneys, from steam boats, etc. On evening – infinite variety of subjects in cafes, different tones of glass robes reflected in the mirrors. On bakery, bread. Series of baker's boys, seen in the cellar itself or through the basement windows from the street – backs the colour of the pink flour – beautiful curves of dough – still-life's of different breads, large, oval, long, round, etc. Studies in color of the yellows, pinks, grays, whites of bread…… Neither monuments nor houses have ever been done from below, close up as they appear when you walk down the street. [a working note in which Degas planned series of views of modern Paris, the same time when he sketched the backstreet brothels, making graphic unflinching and even his realistic 'pornographic' sketches he called his 'glimpses through the keyhole', in which he also experimented with perspectives]”

Edgar Degas (1834–1917) French artist

Quote from Degas' Notebooks; Clarendon Press, Oxford 1976, nos 30 & 34 circa 1877; as quoted in The private lives of the Impressionists, Sue Roe, Harpen Collins Publishers, New York 2006, p. 182
quotes, undated

Gideon Mantell photo
Georges Bernanos photo

“She isn't very clever or very devout,… and she certainly empties the whole salt cellar into the stories she tells me. But I love her because she never lies.”

Georges Bernanos (1888–1948) French writer

Chantal speaking of the cook, Madame Fernande, p. 119
La joie (Joy) 1929

Henry Ward Beecher photo
Halldór Laxness photo
Warren Farrell photo
Anthony Burgess photo
Arthur Koestler photo
Gaston Bachelard photo
James Russell Lowell photo

“When I was a beggarly boy,
And lived in a cellar damp,
I had not a friend nor a toy,
But I had Aladdin's lamp.”

James Russell Lowell (1819–1891) American poet, critic, editor, and diplomat

Aladdin, st. 1 (1868)

Whittaker Chambers photo
Peter Greenaway photo
Jerome K. Jerome photo

“I can understand the ignorant masses loving to soak themselves in drink—oh, yes, it's very shocking that they should, of course—very shocking to us who live in cozy homes, with all the graces and pleasures of life around us, that the dwellers in damp cellars and windy attics should creep from their dens of misery into the warmth and glare of the public-house bar, and seek to float for a brief space away from their dull world upon a Lethe stream of gin. But think, before you hold up your hands in horror at their ill-living, what "life" for these wretched creatures really means. Picture the squalid misery of their brutish existence, dragged on from year to year in the narrow, noisome room where, huddled like vermin in sewers, they welter, and sicken, and sleep; where dirt-grimed children scream and fight and sluttish, shrill-voiced women cuff, and curse, and nag; where the street outside teems with roaring filth and the house around is a bedlam of riot and stench. Think what a sapless stick this fair flower of life must be to them, devoid of mind and soul. The horse in his stall scents the sweet hay and munches the ripe corn contentedly. The watch-dog in his kennel blinks at the grateful sun, dreams of a glorious chase over the dewy fields, and wakes with a yelp of gladness to greet a caressing hand. But the clod-like life of these human logs never knows one ray of light. From the hour when they crawl from their comfortless bed to the hour when they lounge back into it again they never live one moment of real life. Recreation, amusement, companionship, they know not the meaning of. Joy, sorrow, laughter, tears, love, friendship, longing, despair, are idle words to them. From the day when their baby eyes first look out upon their sordid world to the day when, with an oath, they close them forever and their bones are shoveled out of sight, they never warm to one touch of human sympathy, never thrill to a single thought, never start to a single hope. In the name of the God of mercy; let them pour the maddening liquor down their throats and feel for one brief moment that they live!”

Idle Thoughts of an Idle Fellow (1886)

Samuel Foote photo

“Born in a cellar, and living in a garret.”

Samuel Foote (1720–1777) British dramatist

The Author (1757), Act ii. Compare: "Born in the garret, in the kitchen bred", Lord Byron, A Sketch; "I came up stairs into the world, for I was born in a cellar" William Congreve, Love for Love, Act ii, Scene 7.

John Ramsay McCulloch photo
Robert G. Ingersoll photo
Klayton photo
Letitia Elizabeth Landon photo
John Aubrey photo
P.G. Wodehouse photo
John Fante photo
Richard Russo photo
Karel Čapek photo

“I've tried all isolating materials that might possibly prevent the Absolute from getting out of the cellar: ashes, sand, metal walls, but nothing can stop it.”

The Absolute at Large (1921)
Context: I've tried all isolating materials that might possibly prevent the Absolute from getting out of the cellar: ashes, sand, metal walls, but nothing can stop it. I've even tried lining the cellar walls with the works of Professors Krejci, Spencer, and Haeckle, all the Positivists you can think of; if you can believe it, the Absolute penetrates even things like that.