The Bells of Bruges Quotes

“There are women whose love only ends with death.”
― Georges Rodenbach, The Bells of Bruges

“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.”
― Georges Rodenbach, The Bells of Bruges

“The main thing for inner contentment is to be in a state of grace. And there is an artistic state of grace, for art is a kind of religion.”
― Georges Rodenbach, The Bells of Bruges

“The beauty of sorrow is superior to the beauty of life.”
― Georges Rodenbach, The Bells of Bruges

“The act of writing itself is like an act of love. There is contact. There is exchange too. We no longer know whether the words come out of the ink onto the page, or whether they emerge from the page itself where they were sleeping, the ink merely giving them colour.”
― Georges Rodenbach, The Bells of Bruges

“Can there be anything more sad than a girl dying on the day of her first communion, in her new dress. A little bride of death...”
― Georges Rodenbach, The Bells of Bruges

“...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!”
― Georges Rodenbach, The Bells of Bruges

“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.”
― Georges Rodenbach, The Bells of Bruges

“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.”
― Georges Rodenbach, The Bells of Bruges

“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 ...”
― Georges Rodenbach, The Bells of Bruges

“The only man who is truly happy is a man who has an idée fixe. It takes up his every minute, fills any empty spaces in his thought, sneaks unexpected pleasures into his boredom, gives direction to his idle hours, again and again enlivens the stagnant waters of existence with a surging current.”
― Georges Rodenbach, The Bells of Bruges

“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.”
― Georges Rodenbach, The Bells of Bruges

“The windows let in a perfect light, a vibrant light such as you get in the north, where a kind of grey gauze turns the sun to silver. And such solitude, such quiet.”
― Georges Rodenbach, The Bells of Bruges

“Is it not strange how quickly one can become detached from everything? How empty life appears when one is close to death!”
― Georges Rodenbach, The Bells of Bruges

“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.”
― Georges Rodenbach, The Bells of Bruges

“It was a delicate task, too, for the danger was twofold: on the one hand not to restore would mean losing precious vestiges which are a town's armorial bearings, the past ennobling the present; on the other hand there was the danger of restoring too much, rejuvenating, replacing stone with stone to the point where the house or the monument had lost everything of its survival through the centuries, was nothing but a sham, a deceiving copy, the wax mask of a mummy, substituted instead of its authentic face moulded by the centuries.”
― Georges Rodenbach, The Bells of Bruges

“Is this not the collector's exquisite pleasure, that his desire should know no bounds, should reach out into the infinite, should never know full possession which disappoints by its very completeness. O what joy to be able to postpone the fulfillment of desire to infinity!”
― Georges Rodenbach, The Bells of Bruges

“Gripped by a feverish urge to climb, he felt like running up the stone stairs. People often talk of the attraction of the abyss. There is also the abyss above. Borluut was still going up; he would have liked to keep on going up for ever, melancholy at the thought that the stairway was doubtless going to stop and that at the end, on the edge of the air, he would still yearn to continue, go farther, higher.”
― Georges Rodenbach, The Bells of Bruges

“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.”
― Georges Rodenbach, The Bells of Bruges

“He got carried away as he developed his idea: 'The aesthetic quality of towns is essential. If, as has been said, every landscape is a frame of mind, then it is even more true of a townscape. The way the inhabitants think and feel corresponds to the town they live in. An analogous phenomenon can be observed in certain women who, during their pregnancy, surround themselves with harmonious objects, calm statues, bright gardens, delicate curios, so that their child-to-be, under their influence, will be beautiful. In the same way one cannot imagine a genius coming from other than a magnificent town. Goethe was born in Frankfurt, a noble city where the Main flows between venerable palaces, between walls where the ancient heart of Germany lives on. Hoffmann explains Nuremberg - his soul performs acrobatics on the gables like a gnome on the decorated face of an old German clock. In France there is Rouen, with its rich accumulation of architectural monuments, its. cathedral like an oasis of stone, which produced Corneille and then Flaubert, two pure geniuses shaking hands across the centuries. There is no doubt about it, beautiful towns make beautiful souls.”
― Georges Rodenbach, The Bells of Bruges

“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.”
― Georges Rodenbach, The Bells of Bruges

“They sensed that nothing needed to be said. In silence, minds understand each other.”
― Georges Rodenbach, The Bells of Bruges

“Thus the tower was both disease and cure. It rendered him unfit for the world and it remedied the hurts inflicted by the world.”
― Georges Rodenbach, The Bells of Bruges

“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.”
― Georges Rodenbach, The Bells of Bruges

“Woman is the window through which we see the world.”
― Georges Rodenbach, The Bells of Bruges

“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.”
― Georges Rodenbach, The Bells of Bruges

“It is distance that creates nostalgia.”
― Georges Rodenbach, The Bells of Bruges

“He felt more cheerful, revived by the journey, released from himself and his poor life, uplifted by thoughts of the infinite.”
― Georges Rodenbach, The Bells of Bruges

“It was van Hulle who had been the initiator of this restoration of their ancestral language to its former glory as a means of reawakening national consciousness. He had called conferences and incited a vast number of people to petition the authorities. He was truly the first apostle of the Movement, to which people like Borluut, Farazyn and Bartholomeus had rallied. Now the drive was slackening. None of their hopes had been realised, apart from the use of the Flemish language. And now that point had been conceded, they saw that it had not produced any important changes for Bruges. At most it was as if a dead body had been put in a different coffin.”
― Georges Rodenbach, The Bells of Bruges

“Once he had reached the top, he looked down on the town at his feet. Such repose, such tranquility, what a lesson in calmness! Seeing it, he was ashamed of his troubled existence. He renounced the love that brought him misery for the love of the town. It took hold of him again, suffusing his entire being as it had done during the first days of the Flemish Movement. How beautiful Bruges still was, seen from above, with its belfries, its pinnacles, its stepped gables like stairs to climb up to the land of dreams, to return to the great days of yesteryear. Among the roofs were canals fanned by the trees, quiet streets with a few women making their way in cloaks, swinging like silent bells. Lethargic peace! The sweetness of renunciation! A queen in exile, the widow of History whose only desire, basically, was to carve her own tomb.”
― Georges Rodenbach, The Bells of Bruges