Quotes about hearth
A collection of quotes on the topic of hearth, home, fire, life.
Quotes about hearth

1840s, Past and Present (1843)

<p>Original: Triste de quem vive em casa,
Contente com o seu lar,
Sem que um sonho, no erguer de asa,
Faça até mais rubra a brasa
Da lareira a abandonar!</p><p>Triste de quem é feliz!
Vive porque a vida dura.
Nada na alma lhe diz
Mais que a lição da raiz-
Ter por vida a sepultura.</p>
Poem "O Quinto Império" http://www.inverso.pt/Mensagem/Encoberto/QuintoImperio.htm, lines 1–10
Message

"Lettre XII: sur M. Pope et quelques autres poètes fameux," Lettres philosophiques (1756 edition)
Variants:
He looked on everything as imitation. The most original writers, he said, borrowed one from another. Boyardo has imitated Pulci, and Ariofio Boyardo. The instruction we find in books is like fire; we fetch it from our neighbour, kindle it as home, communicate it to others, and it becomes the property of all.
Historical and Critical Memoirs of the Life and Writings of M. de Voltaire (1786) by Louis Mayeul Chaudon, p. 348
What we find in books is like the fire in our hearths. We fetch it from our neighbors, we kindle it at home, we communicate it to others, and it becomes the property of all.
As translated in Geary's Guide to the World's Great Aphorists (2008), by James Geary, p. 373
Context: Thus, almost everything is imitation. The idea of The Persian Letters was taken from The Turkish Spy. Boiardo imitated Pulci, Ariosto imitated Boiardo. The most original minds borrowed from one another. Miguel de Cervantes makes his Don Quixote a fool; but pray is Orlando any other? It would puzzle one to decide whether knight errantry has been made more ridiculous by the grotesque painting of Cervantes, than by the luxuriant imagination of Ariosto. Metastasio has taken the greatest part of his operas from our French tragedies. Several English writers have copied us without saying one word of the matter. It is with books as with the fire in our hearths; we go to a neighbor to get the embers and light it when we return home, pass it on to others, and it belongs to everyone

Par l’art seulement, nous pouvons sortir de nous, savoir ce que voit un autre de cet univers qui n’est pas le même que le nôtre et dont les paysages nous seraient restés aussi inconnus que ceux qu’il peut y avoir dans la lune. Grâce à l’art, au lieu de voir un seul monde, le nôtre, nous le voyons se multiplier, et autant qu’il y a d’artistes originaux, autant nous avons de mondes à notre disposition, plus différents les uns des autres que ceux qui roulent dans l’infini et qui, bien des siècles après qu’est éteint le foyer dont il émanait, qu’il s’appelât Rembrandt ou Vermeer, nous envoient encore leur rayon spécial.<p>Ce travail de l’artiste, de chercher à apercevoir sous la matière, sous de l’expérience, sous des mots, quelque chose de différent, c’est exactement le travail inverse de celui que, à chaque minute, quand nous vivons détourné de nous-même, l’amour-propre, la passion, l’intelligence, et l’habitude aussi accomplissent en nous, quand elles amassent au-dessus de nos impressions vraies, pour nous les cacher entièrement, les nomenclatures, les buts pratiques que nous appelons faussement la vie.
Source: In Search of Lost Time, Remembrance of Things Past (1913-1927), Vol. VII: The Past Recaptured (1927), Ch. III: "An Afternoon Party at the House of the Princesse de Guermantes"

"Lettre XII: sur M. Pope et quelques autres poètes fameux," Lettres philosophiques (1756 edition)
Variants:
He looked on everything as imitation. The most original writers, he said, borrowed one from another. Boyardo has imitated Pulci, and Ariofio Boyardo. The instruction we find in books is like fire; we fetch it from our neighbour, kindle it as home, communicate it to others, and it becomes the property of all.
Historical and Critical Memoirs of the Life and Writings of M. de Voltaire (1786) by Louis Mayeul Chaudon, p. 348
What we find in books is like the fire in our hearths. We fetch it from our neighbors, we kindle it at home, we communicate it to others, and it becomes the property of all.
As translated in Geary's Guide to the World's Great Aphorists (2008), by James Geary, p. 373
Original: (fr) Ainsi, presque tout est imitation. L’idée des Lettres persanes est prise de celle de l’Espion turc. Le Boiardo a imité le Pulci, l’Arioste a imité le Boiardo. Les esprits les plus originaux empruntent les uns des autres. Michel Cervantes fait un fou de son don Quichotte; mais Roland est-il autre chose qu'un fou? Il serait difficile de décider si la chevalerie errante est plus tournée en ridicule par les peintures grotesques de Cervantes que par la féconde imagination de l'Arioste. Métastase a pris la plupart de ses opéras dans nos tragédies françaises. Plusieurs auteurs anglais nous ont copiés, et n'en ont rien dit. Il en est des livres comme du feu de nos foyers; on va prendre ce feu chez son voisin, on l’allume chez soi, on le communique à d’autres, et il appartient à tous.

“Because Hope survives best at the Hearth.”
Variant: Hope survives best at the hearth.
Source: The Last Olympian

Variant: There may be a great fire in our soul, yet no one ever comes to warm himself at it, and the passers-by see only a wisp of smoke.
Source: An O'Brien Family Christmas

Source: Julian and Maddalo http://www.bartleby.com/139/shel115.html (1819), l. 449

1840s, Heroes and Hero-Worship (1840), The Hero as Prophet

Traits and Trials of Early Life (1836), 'The Little Boy's Bed-time' translation from Mdme. Marceline Desbordes-Valmore
Translations, From the French
The Owner Built Home: A How-to-do-it Book (1972)

Lectures VI and VII, "The Sick Soul"
1900s, The Varieties of Religious Experience (1902)

Source: Look Away!: A History of the Confederate States of America (2002), p. 10

Speech in Reading (1 January 1910)
Chancellor of the Exchequer

Speech in Aylesbury, responding to a heckler who accused Cobden of getting his property through Anti-Corn Law League funds (9 January 1853), quoted in John Bright and J. E. Thorold Rogers (eds.), Speeches on Questions of Public Policy by Richard Cobden, M.P. Volume I (London: T. Fisher Unwin, 1908), pp. 225-6.
1850s

Extempore Effusion upon the Death of James Hogg.
Bartlett's Familiar Quotations, 10th ed. (1919)

The Golden Violet - Clemenza’s Song
The Golden Violet (1827)

Cassandra (1860)

version in original Dutch (citaat van Jozef Israëls in Nederlands): ..is het niet gek dat wat gij zegt in uw stuk nog door zo weinig mensen begrepen wordt. Onder anderen was er iemand ik geloof in het 'Nieuws van den Dag', die de 'oude vrouw bij den haard' [in een schilderij van Israels].. ..hoe mooi ook geschilderd walgelijk zegge walgelijk van onderwerp vond. – Voorts is [kunst-criticus, erg kritisch op Israëls' vaak toegepaste 'neerslachtigheid'] ook erg aan 't malen geweest over mijn omhalen van de plunje van de arme lui. Goed gebruld leeuw dacht ik – goed begrepen [ironisch!] waarvoor het geschilderd is..
In a letter, 10 May 1885, to A.S. Kok in The Hague; in R.K.D. The Hague: Archive of A.S. Kok
Quotes of Jozef Israels, 1871 - 1900

On a child doing homework near the family’s television set, in Roger’s Version (1986)

Writing in Mills Quarterly in 1917, as quoted in Unitarian Universalist Women's Heritage Society Archives, 3 July 2018, Aurelia Isabel Henry Reinhardt (1877-1948) http://www.uuwhs.org/womenwest.php,

Interview in The Vegetarians by Rynn Berry (Brookline, MA: Autumn Press, 1979), pp. 166-167.

Source: The Gospel of Sri Ramakrishna (1942), p. 149

“Go where he will, the wise man is at home,
His hearth the earth, his hall the azure dome.”
Wood-notes
Bartlett's Familiar Quotations, 10th ed. (1919)

Source: The Singularity Is Near: When Humans Transcend Biology (2005), p. 307

Source: The Modern Rack (1889), Ch. I: The Moral Aspects of Vivisection, p. 15
Source: Castle Series, Castle in the Air (1990), pp. 16-17.

Source: The Undoing of Thought (1988), pp. 25-26.

Source: 1940s, Male and Female (1949), p. 1; Start of first chapter entitled "The Significance of the Questions We Ask"

“A clear fire, a clean hearth, and the rigor of the game.”
Mrs. Battle's Opinions on Whist; reported in Bartlett's Familiar Quotations, 10th ed. (1919).
Essays of Elia (1823)

St. 6
Elegy Written in a Country Churchyard http://www.thomasgray.org/cgi-bin/display.cgi?text=elcc (written 1750, publ. 1751)

Pt. I, Ch. 3 Jean Ribaut
Pioneers of France in the New World (1865)

Volume 1, Introduction.
The Greek Myths (1955)
Context: Ancient Europe had no gods. The Great Goddess was regarded as immortal, changeless, and omnipotent; and the concept of fatherhood had not been introduced into religious thought. She took lovers, but for pleasure, not to provide her children with a father. Men feared, adored, and obeyed the matriarch; the hearth which she tended in a cave or hut being their earliest social centre, and motherhood their prime mystery.

Orthodoxy (1884).
Context: Love is the only bow on Life's dark cloud. It is the morning and the evening star. It shines upon the babe, and sheds its radiance on the quiet tomb. It is the mother of art, inspirer of poet, patriot and philosopher. It is the air and light of every heart — builder of every home, kindler of every fire on every hearth. It was the first to dream of immortality. It fills the world with melody — for music is the voice of love. Love is the magician, the enchanter, that changes worthless things to Joy, and makes royal kings and queens of common clay. It is the perfume of that wondrous flower, the heart, and without that sacred passion, that divine swoon, we are less than beasts; but with it, earth is heaven, and we are gods.
“I'm a living corpse, untombed, undraped,
Unwelcome in the alien land, exiled from home and hearth.”
Original: (ur) فانی ؔ ہم تو جیتے جی وہ میت ہیں بے گور و کفن
غربت جس کو راس نہ آئی اور وطن بھی چُھوٹ گیا
Fani, Urdu Ghazals: An Anthology from 16th to 20th century, p. 226