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Victorian Quotes

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Victorian Quotes

“The two of us locked up our own little secrets from the real world. We had experienced countless sleepless nights when we would share our fears, our worries, and our passions; when we would gossip about the school and the other girls. We had played too many pranks and snuck out more than enough times to be expelled if the teachers ever found out. We were professionals at the art of being discreet; however, we had never found sneaking out of a residence necessary, especially when the reason was not to play a prank.”

FriendshipFantasyFriendsYoung AdultComing Of AgeYoung Adult FictionHistorical FictionYoung Adult FantasyVictorianVictorian Era
Book:Thorns in the Shadow
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“There was a sudden flash of lightning which brightly illuminated our faces. I squinted against the harsh light. It was soon followed by the crack of thunder. The strong wind whipped our hair around our faces, and the younger girls squealed as they quickly ran across the grass to get inside the school. Rose and I sat up, smiles on our faces as we listened to the weather’s dangerous melody. The third flash of lightning finally ripped open the sky’s belly. Freezing rain cascaded out, drenching us in a matter of seconds, the flower garlands drooping and lying limp on our matted hair.”

FriendshipFantasyFriendsRainYoung AdultStormComing Of AgeYoung Adult FictionHistorical FictionYoung Adult FantasyVictorianVictorian Era
Book:Thorns in the Shadow
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“She was not in the body of a young woman but just as I remembered her: a little toddler with a beautiful smile. She reached out with her small hand, and I gripped her tiny fingers as I let go of the pain and sank deeper into the lake.”

FictionFantasyAdventureYoung AdultComing Of AgeYoung Adult FictionHistorical FictionSistersSiblingFantasy FictionYoung Adult FantasyVictorianAdventuresAdventure FictionFiction FantasyFantasy Ya
Book:Thorns in the Shadow
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“Oh, she was a great beauty," Maggie replied, and Hetty nodded in agreement. "The clearest blue-green eyes, and skin like peaches, with a splendid dusting of freckles," she said. "And her hair -- 'twas flaming red, and fell in marvellous profusion," Maggie added. "We used to call her Queen Elizabeth -- in jest, you understand, for the real Queen was quite fearsome I do believe. Mrs Bramstone almost hated Bessie I think, for how lovely she was".”

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Book:The Lost Children of Gloam's End
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“Resting my head on the high-backed chair, I silently marvel at emotion so strong it can quite literally chase away all reason and good sense. It is something I have never experienced. I pity Frances for being victim to such devastating passions. But, if I am honest, a small part of me envies her, for she possesses something that I should: desire for my husband. Moreover, she knows what it is to feel alive.”

RomanceDesirePassionEmotionHistoricalEroticaVictorian
Book:The Anatomy of Desire
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“So the baby was carried in a small deal box, under an ancient woman's shawl, to the churchyard that night, and buried by lantern-light, at the cost of a shilling and a pint of beer to the sexton, in that shabby corner of God's allotment where He lets the nettles grow, and where all unbaptized infants, notorious drunkards, suicides, and others of the conjecturally damned are laid.”

RomanticGothicVictorian
Book:Tess of the D’Urbervilles
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“I held a brief debate with myself as to whether I should change my ordinary attire for something smarter. At last I concluded it would be a waste of labour. "Doubtless," though I, "she is some stiff old maid ; for though the daughter of Madame Reuter, she may well number upwards of forty winters; besides, if it were otherwise, if she be both young and pretty, I am not handsome, and no dressing can make me so, therefore I'll go as I am." And off I started, cursorily glancing sideways as I passed the toilet-table, surmounted by a looking-glass: a thin irregular face I saw, with sunk, dark eyes under a large, square forehead, complexion destitute of bloom or attraction; something young, but not youthful, no object to win a lady's love, no butt for the shafts of Cupid.”

AgeFictionBeautyYouthAppearanceVictorian
Book:The Professor
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“...she was really very pretty, one of the prettiest girls she knew. And as if to prove it she raised her arms and unloosed her hair, a thing she knew to be vaguely sinful, yet necessary, like a hot bath or a warm bed on a winter's night. She imagined herself for a truly sinful moment as someone wicked — a dancer, an actress.”

SexSinHairDancer19th CenturyVictorianPrettyFemale SexualityActressSexual Suppression
Book:The French Lieutenant’s Woman
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“It is nine o'clock, and London has breakfasted. Some unconsidered tens of thousands have, it is true, already enjoyed with what appetite they might their pre-prandial meal; the upper fifty thousand, again, have not yet left their luxurious couches, and will not breakfast till ten, eleven o'clock, noon; nay, there shall be sundry listless, languid members of fast military clubs, dwellers among the tents of Jermyn Street, and the high-priced second floors of Little Ryder Street, St. James's, upon whom one, two, and three o'clock in the afternoon shall be but as dawn, and whose broiled bones and devilled kidneys shall scarcely be laid on the damask breakfast-cloth before Sol is red in the western horizon. I wish that, in this age so enamoured of statistical information, when we must needs know how many loads of manure go to every acre of turnip-field, and how many jail-birds are thrust into the black hole per mensem for fracturing their pannikins, or tearing their convict jackets, that some M'Culloch or Caird would tabulate for me the amount of provisions, solid and liquid, consumed at the breakfasts of London every morning. I want to know how many thousand eggs are daily chipped, how many of those embryo chickens are poached, and how many fried; how many tons of quartern loaves are cut up to make bread-and-butter, thick and thin; how many porkers have been sacrificed to provide the bacon rashers, fat and streaky ; what rivers have been drained, what fuel consumed, what mounds of salt employed, what volumes of smoke emitted, to catch and cure the finny haddocks and the Yarmouth bloaters, that grace our morning repast. Say, too, Crosse and Blackwell, what multitudinous demands are matutinally made on thee for pots of anchovy paste and preserved tongue, covered with that circular layer - abominable disc! - of oleaginous nastiness, apparently composed of rancid pomatum, but technically known as clarified butter, and yet not so nasty as that adipose horror that surrounds the truffle bedecked pate  de  foie gras. Say, Elizabeth Lazenby, how many hundred bottles of thy sauce (none of which are genuine unless signed by thee) are in request to give a relish to cold meat, game, and fish. Mysteries upon mysteries are there connected with nine o'clock breakfasts.”

CultureFoodEnglandLondonJournalismBreakfastEnglishVictorianUnited KingdomVictorian EraUkVictorian Age
Book:Twice Round the Clock, or the Hours of the Day and Night in London
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“She was shocked when she followed her aunt and cousin down into the city proper. The streets were crawling with people, all hurrying to and fro, mindless of one another. They brushed by with barely even a glance, stepping down into the busy roads between horse drawn buses and draymen’s carts with such confidence, seemingly oblivious that they could be run down at any moment. Children dodged in and out amongst them, ragamuffins all, some barefoot.”

RomanceWomenFictionClassStruggleEnglandHistoricalWorkersInequalityCityManchesterVictorianChild LaborMill
Book:The Mill Owner's Son
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“It appears that ordinary men take wives because possession is not possible without marriage, and that ordinary women accept husbands because marriage is not possible without possession; with totally differing aims the method is the same on both sides. But the understood incentive on the woman's part was wanting here. Besides, Bathsheba's position as absolute mistress of a farm and house was a novel one, and the novelty had not yet begun to wear off.”

MarriageFeminismMen And WomenIndependenceVictorianThomas HardyFar From The Madding CrowdBathsheba EverdeneGender PoliticsSexual Politics
Book:Far From the Madding Crowd
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“The physical shape of Mollies paralyses and contortions fit the pattern of late-nineteenth-century hysteria as well — in particular the phases of "grand hysteria" described by Jean-Martin Charcot, a French physician who became world-famous in the 1870s and 1880s for his studies of hysterics..." "The hooplike spasm Mollie experienced sounds uncannily like what Charcot considered the ultimate grand movement, the arc de de cercle (also called arc-en-ciel), in which the patient arched her back, balancing on her heels and the top of her head..." "One of his star patients, known to her audiences only as Louise, was a specialist in the arc de cercle — and had a background and hysterical manifestations quite similar to Mollie's. A small-town girl who made her way to Paris in her teens, Louise had had a disrupted childhood, replete with abandonment and sexual abuse. She entered Salpetriere in 1875, where while under Charcot's care she experienced partial paralysis and complete loss of sensation over the right side of her body, as well as a decrease in hearing, smell, taste, and vision. She had frequent violent, dramatic hysterical fits, alternating with hallucinations and trancelike phases during which she would "see" her mother and other people she knew standing before her (this symptom would manifest itself in Mollie). Although critics, at the time and since, have decried the sometime circus atmosphere of Charcot's lectures, and claimed that he, inadvertently or not, trained his patients how to be hysterical, he remains a key figure in understanding nineteenth-century hysteria.”

ScienceHistoryPsychologyAbuseMedicineMental HealthMental IllnessPsychologicalDissociative Identity DisorderFrenchEating DisorderHysteriaAmnesiaVictorianMultiple Personality DisorderParalysisTranceMpdConversion DisorderConvulsionsMollie FancherFancherInvoluntary MovementsPierre JanetPsychosomatic IllnessCharcotJean Marie CharcotSpasmsVictorian Medicine
Book:The Fasting Girl: A True Victorian Medical Mystery
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“When in 1863 Thomas Huxley coined the phrase 'Man's Place in Nature,' it was to name a short collection of his essays applying to man Darwin's theory of evolution. The Origin of Species had been published only four years before, and the thesis that man was literally a part of nature, rather than an earthy vessel charged with some sublimer stuff, was so novel and so offensive to current metaphysics that it needed the most vigorous defense. Half the civilized world was rudely shocked, the other half skeptically amused. Nearly a century has passed since the Origin shattered the complacency of the Victorian world and initiated what may be called the Darwinian revolution, an upheaval of man's ideas comparable to and probably exceeding in significance the revolution that issued from Copernicus's demonstration that the earth moves around the sun. The theory of evolution was but one of many factors contributing to the destruction of the ancient beliefs; it only toppled over what had already been weakened by centuries of decay, rendered suspect by the assaults of many intellectual disciplines; but it marked the beginning of the end of the era of faith.”

ScienceNatureEvolutionIntellectDefenseBiologyRudeMetaphysicsBeliefsSkepticNaturalismVictorianOrigin Of SpeciesDarwinHuxleyCharles DarwinCopernicusAmuseNicolaus CopernicusMan S Place In NatureThe Origin Of SpeciesThomas Henry HuxleyThomas HuxleyAncient BeliefsOn The Origin Of SpeciesEnd Of Faith
Book:Man and His Gods
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“The world of shadows and superstition that was Victorian England, so well depicted in this 1871 tale, was unique. While the foundations of so much of our present knowledge of subjects like medicine, public health, electricity, chemistry and agriculture, were being, if not laid, at least mapped out, people could still believe in the existence of devils and demons. And why not? A good ghost story is pure entertainment. It was not until well into the twentieth century that ghost stories began to have a deeper significance and to become allegorical; in fact, to lose their charm. No mental effort is required to read 'The Weird Woman', no seeking for hidden meanings; there are no complexities of plot, no allegory on the state of the world. And so it should be. At what other point in literary history could a man, standing over the body of his fiancee, say such a line as this: 'Speak, hound! Or, by heaven, this night shall witness two murders instead of one!' Those were the days. (introduction to "The Weird Woman")”

HorrorVictorianGhost StoriesVictorian EraGhost StoryVictorian AgeVictorian LondonVictorian Literature
Book:Terror by Gaslight: More Victorian Tales of Terror
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“He unzipped the nylon case, and inside was a discolored frame that smelled like smoke. A thin layer of soot covered the painting under the glass- a picture of an old manor house. Gothic Victorian. Wisteria climbed the wall near the entrance, the pale-lavender blossoms clinging to the gray stone. The artist had brushed flowers below the windows as well, though those colors had been muted by the smoke damage.”

PaintingSmokeGothicVictorianLavenderManor HouseHeather Toulson
Book:Shadows of Ladenbrooke Manor
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“It was a delicate silver frame, small enough to fit within her hand, containing a photograph of a woman. She was young, with long hair, light but not blond, half of which was wound into a loose knot on the top of her head; her gaze was direct, her chin slightly lifted, her cheekbones high. Her lips were set in an attitude of intelligent engagement, perhaps even defiance. Elodie felt a familiar stirring of anticipation as she took in the sepia tones, the promise of a life awaiting rediscovery. The woman's dress was looser than might be expected for the period. White fabric draped over her shoulders, and the neckline fell in a V. The sleeves were sheer and billowed, and had been pushed to the elbow on one arm. Her wrist was slender, the hand on her hip accentuating the indentation of her waist. The treatment was as unusual as the subject, for the woman wasn't posed inside on a settee or against a scenic curtain, as one might expect in a Victorian portrait. She was outside, surrounded by dense greenery, a setting that spoke of movement and life. The light was diffuse, the effect intoxicating.”

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Book:The Clockmaker's Daughter
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