Georges Rodenbach Quotes

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

It is distance that creates nostalgia.

The carillon is, after all, the music of the people. Elsewhere, in the glittering capitals, public festivals are celebrated with fireworks, that magical offering that can thrill the very soul. Here, in the meditative land of Flanders, among the damp mists so antagonistic to the brilliance of fire, the carillon takes their place. It is a display of fireworks that one hears: flares, rockets, showers, a thousand sparks of sound which colour the air for visionary eyes alerted by hearing.

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!

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

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

Bruges had the air of a ghost town. The high towers, the trees along the canals withdrew, absorbed by the same muslin: impenetrable fog with not a single rift. Even the carillon seemed to have to escape, to force its way out of a prison yard filled with cotton wool to be free in the air, to reach the gables over which, every quarter of an hour, the bells poured, like falling leaves, a melancholy autumn of music.

There are women whose love only ends with death.

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 ...

That is the way it is, we always fall in love because of a detail, a nuance. It is a marker we set up for ourselves in the midst of the confusion, in the infinite space of love. The greatest passions come from such little causes.

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")

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.

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.

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

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")

Is it not strange how quickly one can become detached from everything? How empty life appears when one is close to death!

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.

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.

Woman is the window through which we see the world.

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.

Oh, the sudden change of perspective brought about by travel and absence! How different everything was here: the people in the streets, the houses, the color of the air, the sky above the roofs, a low sky, very close, with molded clouds, and which looked as if it had come out of a painting. A unique setting, a subtle atmosphere of silvery greys, the patina of centuries on the old walls - a shimmering marvel for the eyes of a painter. ("The Dead Town")

Dead towns are the Cathedrals of Silence. They, too, have their gargoyles, singular figures, exaggerated, dubious, set in high profile. They stand out from the mass of grey, which takes all it has in the way of character, its twitchings of stagnant life from them. Some have been distorted by solitude, others grimace with a directionless fervour; here there are masks of cherished lust, there faces ceaselessly sculpted and furrowed by mysticism. Human gargoyles, the only figures of interest in this monotonous population.

Bruges was his dead wife. And his dead wife was Bruges. The two were untied in a like destiny. It was Bruges-la-Morte, the dead town entombed in its stone quais, with the arteries of its canals cold once the great pulse of the sea had ceased beating in them.

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.

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

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.

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.