17th Century France Quotes

If God did not exist it would be necessary to invent Him. But all nature cries aloud that He does exist.
(Voltaire) ~ Elizabeth Kales

Now that the ancien regime had definitely disappeared in France, the new regime must again,
after 1848, reaffirm itself, and the history of the nineteenth century up to 1914 is the history of the
restoration of popular sovereignties against ancien regime monarchies; in other words, the history of the
principle of nations. This principle finally triumphs in 1919, which witnesses the disappearance of all
absolutist monarchies in Europe.3 ~ Albert Camus

During the last two decades of the nineteenth century and the first of the twentieth, France enjoyed an upsurge of artistic flourishing that became known as La Belle Epoque. It was a time of change that heralded both art nouveau and post impressionism, when painters as diverse as Monet, Cezanne and Toulouse Lautrec worked. It was an age of extremes, when Proust and Anatole France were fashionable along with the notorious Monsieur Willy, Colette's husband. On the decorative arts, Mucha, Gallé and Lalique were enjoying success; and the theatre Lugné-Poe was introducing the grave works of Ibsen at the same time as Parisians were enjoying the spectacle of the can-can of Hortense Schneider. Paris was the crossroads of a new and many-faceted culture, a culture that was predominately feminine in form, for, above all, la belle Epoque was the age of women. Women dominated the cultural scene. On the one hand, there was Comtesse Greffulhe, the patron of Proust and Maeterlinck, who introduced greyhound racing into France; Winaretta Singer, Princesse de Polignac, for whom Stravinsky wrote Renard; Misia Sert, the discoverer of Chanel and Diaghilev's closest friend. On the other were the great dancers of the Moulin Rouge, immortalised by Toulouse lautrec - Jane Avril, Yvette Guilbert, la Goulue; as well as such celebrated dramatic actresses as the great Sarah Bernhardt. It would not be possible to speak of La belle Epoque without the great courtesans who, in many ways, perfectly symbolize ~ Charles Castle

In the supposedly enlightened eighteenth and nineteenth centuries, parental indifference, child neglect, and raw cruelty appearedamong Europeans of all classes ... In mid-nineteenth- century France, families abandoned their children at the rate of thirty-three thousand a year ... It took sixty years after the criminalization of cruelty to animals for cruelty to children to be made punishable under English law ... Industrialized America added brutalizing child labor to the oppressions of the young. ~ Letty Cottin Pogrebin

From the 17th to the 19th century, a cult in India strangled tens of thousands of travelers as a sacrifice to the goddess Kali. ~ Steven Pinker

I want to sit around a Gypsy campfire, eating freshly caught rabbit in the company of bare knuckle fighters, and listen to stories about their fights. I want to sit with King Arthur and the Knights of the Round Table after they've defeated the barbarians in battle. I want to be there when Arthur pulls Excalibur from the stone, and I want to be surrounded by dragons, wizards and sorcerers. I want to meet the Muslim leader, Saladin, who occupied Jerusalem in 1187, and despite the fact that a number of holy Muslim places had been violated by Christians, preferred to take Jerusalem without bloodshed. He prohibited acts of vengeance, and his army was so disciplined that there were no deaths or violence after the city surrendered. I want to sit around the desert campfire with him.
I want to drink with Caribbean buccaneers of the 17th century and listen to their tales of preying on shipping and Spanish settlements. I want to witness Celtic Berserkers fighting in ritual warfare in a trance-like fury. I want to spend time working on a scrap cruise, the very last cruise before the ship's due to be scrapped, so there's no future in it, and it attracts all the mad faces of the Merchant Navy. Faces that are known in that industry, who couldn't survive outside 'the life' and who for the most part are quite dangerous and mad themselves. I'd rather have one friend who'll fight like hell over ten who'll do nothing but talk shit. And I want to ride with highwaymen on ribbons of moonlight ~ Karl Wiggins

Footnoting references, signalling quotations, and so on were no part of a 13th-century scholar's duty. He could recycle his own and his predecessor's work without a qualm. He knew nothing of copyright and plagiarism, which are 17th-century inventions. ~ Fergus Kerr

I'd share a pic if the digital camera battery wasn't as flat as 17th century Earth. ~ Simon Haynes

American Black Chamber, borrowing the name from the sixteenth-century cabinet noir, the secret letter-opening and resealing facility of King Henry IV of France. ~ Gabriel Schoenfeld

[The eighteenth century] was the century, as we are frequently told, of women - the intellectual life of women in salons, women wielding unseen influence, women as members of academies, theatrical productions whose success depended on the power of actresses to charm; in the economic sphere, financiers amassing great fortunes in order to marry their daughters into the aristocracy, and women ruling over whole peoples and empires: Maria Theresa, Catherine the Great, Queen Elisabeth Farnese of Spain, as well as the likes of Mme du Pompadour and Mme du Barry. It was as if some residual matriarchy - the oldest culture of the Mediterranean - was struggling to emerge from the blood and the collective unconscious; as if the time would one day return when, in every tribe, it was the women who possessed wealth and power and the men who 'married out', moving into the wife's extended family, where they became gentle, pampered, more or less superfluous drones. [...] In the century of women, it was inevitable that these erotic legends should attach themselves to the outstanding female figures of the time [...] and all this applied even more strongly in France. It was there that women reached the greatest positions of power, and there that this erotic momentum was at its strongest, by virtue of the traditions and nature of the French people. ~ Antal Szerb

History is replete with the seeds of apocalypse. In particular, the 19th/early 20th Century in France was a time of country-shattering events, whether it was the rise and fall of Napoleon Bonaparte (the creation and brutal upending of a whole new social order, within scarcely more than a decade), or the Great War (which devastated the country to a degree that is hard to believe today, wiping out an entire generation in the trenches). It was no great stretch to imagine a magical war engulfing Europe in 1914, and leaving Paris as a field of ruins filled with magical booby traps–the familiar monuments destroyed, the Seine overflowing with the residue of spells.

It's no secret that I'm fascinated by the narrative of war, and of recovery after war: how people struggle to rebuild lives and go on in the wake of world-shattering devastation; how the past can still cast a long, terrible shadow over everything; how the years before the war become a golden thing, regardless of how many injustices and hardships might have been happening then. I'm equally fascinated by history–the narratives that get preserved and enshrined, the stories that are passed down; and the speed with which some things get forgotten while others endure for generations. For me, the vocabulary and tropes of post-apocalypse were a great way to tackle those subjects, and to imagine what would happen in a city that had such a traumatic event in its past. ~ Aliette De Bodard

For years, the place I really lived - the world I watched, the one I thought and wrote about - was 15th-century France. ~ Kathryn Harrison

The dynamics of the global distribution of capital are at once economic, political, and military. This was already the case in the colonial era, when the great powers of the day, Britain and France foremost among them, were quick to roll out the cannon to protect their investments. Clearly, the same will be true in the twenty-first century, in a tense new global political configuration whose contours are difficult to predict in advance. ~ Thomas Piketty

The end of toleration in 1685 left a legacy of bitterness and instability in France, for it failed to destroy the Huguenots, while encouraging an arrogance and exclusiveness within the established Catholic Church. In the great French. Revolution after 1789 this divide was one of the forces encouraging the extraordinary degree of revulsion against Catholic Church institutions, clergy and religious that produced the atrocities of the 1790s; beyond that it created the anticlericalism which has been so characteristic of the left in the politics of modern southern Europe. In the history of modern France, it is striking how the areas in the south that after 1572 formed the Protestant heartlands continued to form the backbone of anti-clerical, anti-monarchical voters for successive Republics, and even in the late twentieth century they were still delivering a reliable vote for French Socialism. ~ Diarmaid MacCulloch

Finally, Europe's post-war history is a story shadowed by silences; by absence. The continent of Europe was once an intricate, interwoven tapestry of overlapping languages, religions, communities and nations. Many of its cities - particularly the smaller ones at the intersection of old and new imperial boundaries, such as Trieste, Sarajevo, Salonika, Cernovitz, Odessa or Vilna - were truly multicultural societies avant le mot, where Catholics, Orthodox, Muslims, Jews and others lived in familiar juxtaposition. We should not idealise this old Europe. What the Polish writer Tadeusz Borowski called 'the incredible, almost comical melting-pot of peoples and nationalities sizzling dangerously in the very heart of Europe' was periodically rent with riots, massacres and pogroms - but it was real, and it survived into living memory.
Between 1914 and 1945, however, that Europe was smashed into the dust. The tidier Europe that emerged, blinking, into the second half of the twentieth century had fewer loose ends. Thanks to war, occupation, boundary adjustments, expulsions and genocide, almost everybody now lived in their own country, among their own people. For forty years after World War Two Europeans in both halves of Europe lived in hermetic national enclaves where surviving religious or ethnic minorities the Jews in France, for example - represented a tiny percentage of the population at large and were thoroughly integrated into its cultural and political mainstream. Only Yugos ~ Tony Judt

She isn't stupid. She's intelligent enough in a purely feminine way. Eighteenth-century France would have been a marvellous setting for her, or the old South if she hadn't made the mistake of being born a Negro. ~ Nella Larsen

...The underlying motive for the French wars [of 1562-1598] was not religious, but dynastic. By the mid-16th century, the Valois family of kings, who had ruled France since 1328, was losing its grasp on political power. Valois King Henry II died in 1559, leaving four sons, all too young or too feeble to rule alone, and three rival noble families, all eager to seize power. One, the Guise (who had married into the royal family), were Catholic; their enemies, the Bourbon and the (more moderate) Montmerency, were Protestant. The Bourbon, in particular, were supported by the many small local Protestant churches that had been set up in France by supporters of Calvin's teachings. Unlike Protestants in England or Germany, they were not controlled by powerful rulers or city councils; some were prepared to use violence and other forms of lawlessness to further Protestant reform. Concerned by this threat to public order, and continuing the Valois' kings generally hostile policy toward reform, in 1562 the Guise ordered the massacre of 74 Protestants at a church service. ~ Fiona MacDonald

[Dan] Brown states that five million women were killed by the Church as witches. In fact, modern research has shown that the witch hunts began in the sixteenth century in Europe and that between 30,000 and 50,000 men and women were burned to death for the crime of witchcraft. However, 90 per cent of those trials took place before secular tribunals in countries such as Germany and France where by the 1500s the Church had lost most of its influence in judicial matters. Indeed, it was precisely in countries like Spain and Italy where the Catholic Church still had influence that there were almost no witchcraft trials. ~ Michael Coren

Apparently "London" gave out my address! that's what they're saying ... not just London, though! Brazzaville, too! ... and said that I'm a dirty pornographer ... a letch besides being the most despicable traitor of the century! ... I'd make a urinal blush! that what we need is to cleanse France and the French language of this smut-writing, demoralizing, grammaclast who's sullying our sacred homeland and its literary heritage! ~ Louis Ferdinand Celine

I live in the Dark Ages, the 17th century. Actually, I would have loved to be in Paris in the early 20th century when the Ballets Russes were there and Chanel was designing. ~ Iris Apfel

When Marguerite (Marguerite-Louise of France, Grand Duchess of Tuscany), caught malaria, she claimed the royal family of Tuscany was trying to murder her, but that she would, in fact, rather die than return to her husband. Louis XIV asked the pope to threaten excommunication if Marguerite persisted, and the pontiff sent her a harsh letter. She didn't fear hell, she replied she was already living in it. ~ Eleanor Herman

What was the battle? What were the aims of the romantics? Why was the subject
the focus of such violent interest?
Hugo and his generation were all 'enfants du siècle', all, give or take a year or
two, born with the century. Brought up amidst the dramas of Napoleon's wars,
they had reached manhood to the anticlimax of peace and Bourbon rule. Restless
and dissatisfied, their dreams of military glory frustrated, they had turned them-
selves instead towards the liberation of the arts, their foes no longer the armies of
Europe but the tyrannies of classical tradition.

For thirty years, while the nation's energies had been absorbed in politics and
war, the arts had virtually stood still in France, frozen, through lack of challenge, in
the classical attitudes of the old régime. The violent emotions and experiences of
the Napoleonic era had done much to render them meaningless. 'Since the cam-
paign in Russia,' said a former officer to Stendhal, 'Iphigénie en Aulide no longer
seems such a good play.'

By the 1820s while the academic establishment, hiding its own sterility behind
the great names of the past, continued to denounce all change, the ice of clas-
sicism was beginning to crack. New influences were crowding in from abroad:
Chateaubriand, the 'enchanter', had cast his spell on the rising generation; the po-
etry of Lamartine, Hugo and Vigny heralded the spring ~ Linda Kelly

The wonderful 17th Century poet, Robert Herrick, wrote a poem entitled, 'To Live Merrily and to Trust to Good Verses.' Easy to say, Robert Herrick; not always easy to do. But it's a good slogan, I think. ~ Robert Pinsky

Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city's most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors.

In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of "bohemian Paris," where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on fl ~ Jeffrey H. Jackson

We can't return to the 19th century, draw up our drawbridges and say, we don't have anything to do with each other, Germany will not work with the Netherlands, the UK will not work with France. That's ludicrous. We are condemned to work with each other. ~ Nick Clegg

ONE GROUP OF Vikings remained in Iceland, becoming the Icelanders. A second group remained in the Faroe Islands. The main body of Vikings were given lands in the Seine basin in exchange for protecting Paris. They settled into northern France and within a century were speaking a dialect of French and became known as the Normans. Soon the Vikings had vanished. ~ Mark Kurlansky

Perhaps people need to understand some history here. Rene Descartes, in the late 16th, early 17th century, postulated that body, mind, physicality and spirituality belonged to different realms of reality that didn't interact. On a positive side, it got the Inquisition off the backs of the intellectuals and they quit burning them at the stake for disagreeing with the Church. ~ Edgar Mitchell

I was born on April 1, 1933, in Constantine, Algeria, which was then part of France. My family, originally from Tangier, settled in Tunisia and then in Algeria in the 16th century after having fled Spain during the Inquisition. ~ Claude Cohen-Tannoudji

One event that is both history and myth is the rain of blood around the year 1000 in Aquitaine and elsewhere in France. Reports exist from the early eleventh century of a blood rain that "fell upon the clothes of many men, and so stained them with gore that they shuddered at the sight of their own garments and tore them off." Fulbert of Chartres wrote that account in a letter to King Robert of France, after the worried king received a report from Duke William V about a rain of blood that fell in Aquitaine. Scientists today believe that historical reports of blood rain may have been due to dust containing iron oxide, ~ Joseph Finley

There is a certain irony here, because many of the first werewolves to be outed in society from the 16th through the 18th centuries were actually women. Just as our American ancestors had their Salem Witch Trials, Europe had its Werewolf Trials, and a large number of the so-called "werewolves" tortured and burned at the stake were female. […] In the 17th-century werewolf trials of Estonia, women were about 150 percent more likely to be accused of lycanthropy; however, they were about 100 percent less likely to be remembered for it."

"Here's also a pronounced lack of female werewolves in popular culture. Their near absence in literature and film is explained away by various fancies: they're sterile, an aberration, or - most galling of all - they don't even exist.Their omission from popular culture does one thing very effectively: It prevents us, and men especially, from being confronted by hairy, ugly, uncontrollable women. Shapeshifting women in fantasy stories tend to transform into animals that we consider feminine, such as cats or birds, which are pretty and dainty, and occasionally slick and wicked serpents. But because the werewolf represents traits that are accepted as masculine - strength, large size, violence, and hirsutism - we tend to think of the werewolf as being naturally male. The female werewolf is disturbing because she entirely breaks the rules of femininity. ~ Julia Oldham

I don't think I would have been great in the 17th century. I would have enjoyed the frocks, and certainly some of the food would have been appealing, but the disease and hygiene would have worried me. ~ Peter Capaldi

Humans began to show their pathogenic potential toward the
planet during the 1950s, ravenously devouring natural resources and
discarding waste into the environment with utter carelessness. From
1990 to 1997, human global consumption grew as much as it did from
the beginning of civilization until 1950. In fact, the global economy
grew more in 1997 alone than during the entire 17th century. ~ Joseph C. Jenkins

And while she didn't yet know how she fit into the world, she did know Duncan was a vital part. ~ Angela Quarles

Without computers, in the 17th century, we could classify the entire animal kingdom ... there was this idea of the speciation, right? And now, all a search engine is is essentially the mathematical speciation of ideas - and these things really derive from the way that language is used and the way words relate. ~ Joshua Cohen

Lance Armstrong has a 17th-century, 15-foot Spanish fresco of the crucifixion hanging on the wall of his Austin mansion. This doesn't mean - and some of you Armstrong acolytes might want to sit down for this - that Lance is Jesus. ~ Stephen Rodrick

I'm from Holland and the history of "Admiral" is something you would read about when you're at school. Nobody knows about these stories and when you go to any museum in Holland, you will see these paintings of these 17th century sea beckels that the Dutch were in to, so it always intrigued me. ~ Roel Reine

But in the 17th century Russian Orthodoxy was gravely weakened by an internal schism. In the 18th, the country was shaken by Peter's forcibly imposed transformations, which favored the economy, the state, and the military at the expense of the religious spirit and national life. And along with this lopsided Petrine enlightenment, Russia felt the first whiff of secularism; its subtle poisons permeated the educated classes in the course of the 19th century and opened the path to Marxism. By the time of the Revolution, faith had virtually disappeared in Russian educated circles; and amongst the uneducated, its health was threatened. ~ Aleksandr Solzhenitsyn

No twenty-first-century reader can understand the ultimate triumph of the Allied powers in World War II in 1945 without a grasp of the large drama that unfolded in North Africa in 1942 and 1943. The liberation of western Europe is a triptych, each panel informing the others: first, North Africa; then, Italy; and finally the invasion of Normandy and the subsequent campaigns across France, the Low Countries, and Germany. From a distance of sixty years, we can see that North Africa was a pivot point in American history, the place where the United States began to act like a great power - militarily, diplomatically, strategically, tactically. ~ Rick Atkinson

... The influence of the Pre-Raphaelites was felt less through their paintings than through a book, The Poems of Tennyson, edited by Moxon and wonderfully illustrated by Rossetti and Millais. The influence on Maeterlinck stems less from the poems themselves than from the illustrations. The revival of illustrated books in the last two years of the century derives from this Tennyson, the books printed at William Morris' press, the albums of Walter Crane. These last two and the ravishing little books for children by Kate Greenaway were heralded by Huysmans as early as 1881.

Generally speaking, it is the English Aesthetic Movement rather than the Pre-Raphaelites which influenced the Symbolists, a new life-style rather than a school of painting. The Continent, passing through the Industrial Revolution some fifty years after England, found valuable advice on how to escape from materialism on the other side of the Channel. Everything that one heard about the refinements practised in Chelsea enchanted Frenchmen of taste: furniture by Godwin, open-air theatricals by Lady Archibald Campbell, the Peacock Room by Whistler, Liberty prints. As the pressure of morality was much less pronounced in France than in England, the ideal of Aestheticism was not a revolt but a retreat towards an exquisite world which left hearty good living to the readers of the magazine La Vie Parisienne ('Paris Life') and success to the readers of Zola. If one could not write a beautiful poem or paint a ~ Philippe Jullian

During [Erté]'s childhood St. Petersburg was an elegant centre of theatrical and artistic life. At the same time, under its cultivated sophistication, ominous rumbles could be distinguished. The reign of the tough Alexander III ended in 1894 and his more gentle successor Nicholas was to be the last of the Tsars … St. Petersburg was a very French city. The Franco-Russian Pact of 1892 consolidated military and cultural ties, and later brought Russia into the First World war. Two activities that deeply influenced [Erté], fashion and art, were particularly dominated by France. The brilliant couturier Paul Poiret, for whom Erté was later to work in Paris, visited the city to display his creations. Modern art from abroad, principally French, was beginning to be show in Russia in the early years of the century …

In St. Petersburg there were three Imperial theatres―the Maryinsky, devoted to opera and ballet, the Alexandrinsky, with its lovely classical façade, performing Russian and foreign classical drama, and the Michaelovsky with a French repertoire and company …

It is not surprising that an artistic youth in St. Petersburg in the first decade of this century should have seen his future in the theatre. The theatre, especially opera and ballet, attracted the leading young painters of the day, including Mikhail Vrubel, possibly the greatest Russian painter of the pre-modernistic period. The father of modern theatrical design in Russia was Alexandre Benois, an o ~ Charles Spencer

He moved on from Anatole France to the eighteenth-century philosophers, though not to Rousseau. Perhaps this was because one side of him - the side easily moved by passion - was too close to Rousseau. Instead, he approached the author of 'Candide', who was closer to another side of him - the cool and richly intellectual side.
At twenty-nine, life no longer held any brightness for him, but Voltaire supplied him with man-made wings.
Spreading these man-made wings, he soared with ease into the sky. The higher he flew, the farther below him sank the joys and sorrows of a life bathed in the light of intellect. Dropping ironies and smiles upon the shabby towns below, he climbed through the open sky, straight for the sun - as if he had forgotten about that ancient Greek who plunged to his death in the ocean when his man-made wings were singed by the sun. ~ Ryunosuke Akutagawa