Romantic Gothic Quotes & Sayings

Grampa's long beard was serving as a bookmark in a well-thumbed paperback with a Western-themed cover. I never knew what would catch Grampa's fancy in the book department. He was as likely to be caught reading a gothic romantic suspense as he was a snowblower repair manual. — Jessie Crockett

To her amazement, she realized that the way of life of these people was nothing more than an indeterminate fiction, casually knotted together at particular points that were used again and again. With four or five remarks, and a couple of facial expressions, she had mastered it with no problem at all. — Gerhard Amanshauser

My own conscious ideal has been to delude the reader into accepting an impossibility, or series of impossibilities, by means of a sort of verbal black magic, in the achievement of which I make use of prose-rhythm, metaphor, simile, tone-color, counter-point, and other stylistic resources, like a sort of incantation. — Clark Ashton Smith

His breathing was heavy, and full of life. He shivered still, his hand finding Katty unsteady and unprepared of what was going to come next.
"I hurt you!" Nico said, his voice raised with worry.
"No, not at all, honey, my sweetest Master, but you have me, all of me, the wholeness of me and my darkness."
"You play with the devil dear." Nico sombered.
"No." Katty defiantly said. "You took my blood and it made me your slave, yet I love every minute of it."
"Tell me you love me Katty." He said, nearing her closer than close, mending the space between them with the threads of courage. "Tell me you have no fear, nor no weakness against me. Or no shame in loving me."
"I fear you not, my love." Katty sincerely committed. "I fear only that you will be taken away by the hands of the vampire hunter, and only then, will I fall. — Keira D. Skye

Reading private correspondence is in poor taste, Lord Ackerly."
"Unless it is terribly interesting," Eleanor says, "which Jessamin's letters are not. Mine, however, are lurid tales of my near-death experience and subsequent sequestering against my will in the home of the mysterious and brooding Lord Ackerly. I fear I may have given you a tragic past and a deadly secret or two."
"Are we staying in a decaying Gothic abbey?" I ask.
"Naturally. When I'm finished, there won't be a person in all the city who isn't writhing with jealousy over the heart-pounding drama of my life." She pauses, tapping her pen thoughtfully against her chin. "I don't suppose you have a cousin? I could very much use a romantic foil."
Finn shakes his head. "Sorry to disappoint."
"Alas. As long as I'm not the friend who meets a tragic end that brings you two together forever through shared grief." Her line meets dead silence, and a sly grin splits her face. "Oh wait, I nearly was. — Kiersten White

So, to do right by a Gothic tale, let's be frank, requires that the author be a militant romantic who relates the action of his narratives in dreamy and more than usually emotive language. Hence, the well-known grandiose rhetoric of the Gothic tale, which may be understood by the sympathetic reader as not just an inflatable raft on which the imagination floats at its leisure upon waves of bombast, but also as the sails of the Gothic artist's soul filling up with the winds of ecstatic hysteria. So it's hard to tell someone how to write the Gothic tale, since one really has to be born to the task. Too bad. — Thomas Ligotti

We simply thought that we would be considerably poorer in Europe if we didn't have the sacred buildings of earlier epochs. It's still possible to experience the Gothic period, not to mention the Romantic. Only nothing remains of the industrial age. So we thought that our photos would give the viewer the chance to go back to a time that is gone forever. — Bernd Becher

I was beginning to agree with the thesis that some truths were better off dead.
And buried. — Simona Panova

In Gothic fiction, characters must contend with the dead, with active hauntings or with hallucinations of hauntings, as well as whatever other trying circumstances they might find themselves in: orphanhood, lunacy, imprisonment, inheritances that go astray, troubling romantic situations. The Gothic novel does not strive for subtlety, and it isn't to everyone's taste. It can seem adolescent, an immature version of the stately, measured, grown-up realist novel, except that the line between Gothic and the realist is never clear. A disdain for the Gothic is limiting, since this literature, in all its flagrancy, has something to say about emotional as well as physical death, and a tale of a haunting can have a narrative vitality that is far from conclusive. Gothic stories linger especially in the mind. — Brenda Walker

Forbear, thou great good husband, little ant. — Richard Lovelace

The existentialists' view of love is not romantic, because they do not believe in love as an abstract force or amorous sunset walks along the beach. However, Cox also said, "if your idea of romance is somewhat more gothic and stormy, full of heartache, yearning and the thwarted desire to possess breaking up, making up and breaking up again, tears before bedtime and tears in the rain, then maybe it is romantic". — Skye Cleary

From the standpoint of the upper classes, the system had many merits. They felt that what was paid out of the poor rate was charity, and therefore a proof of their benevolence; at the same time, wages were kept at starvation level by a method which just prevented discontent from developing into revolution ... It was plainly the certainty, derived from the old Poor Law, that actual death would be averted by the parish authorities, which induced the rural poor of England to endure their misery patiently ... it taught them respect for their 'betters'.While leaving all the wealth that they produced, beyond the absolute minimum required for subsistence, in the hands of the landowners and farmers. It was at this period that landowners built the sham Gothic ruins called 'follies', where they indulged in romantic sensibility about the past while they filled the present with misery and degradation. — Bertrand Russell

One speck of dung will spoil the pot. In order to keep my thoughts on a high level, I put a positive construction on things. — Kathleen Rowland

Your body language shapes who you are — Amy Cuddy

Maybe we were being a bit unrealistic, but we had this hope that if we could just get into the Ivy League, everything would be set. We dreamed of Gothic libraries and leafy green quads and romantic dorms with fireplaces and guys who were not only cute but also smart and charming, and, quite possibly, British. In college, we believed, we'd finally find our people. — Sarah Strohmeyer

She wanted me to love her... and stranger still, i wanted to love and be loved by her. Death had become romantic again. — J.D. Clair

I crown you, small monarch of my bones, — Pablo Neruda

We may say then that the contribution of the telegraph to public discourse was to dignify irrelevance and amplify impotence. But this was not all: Telegraphy also made public discourse essentially incoherent. It brought into being a world of broken time and broken attention, to use Lewis Mumford's phrase. The principle strength of the telegraph was its capacity to move information, not collect it, explain it or analyze it. In this respect, telegraphy was the exact opposite of typography. — Neil Postman

Penelope had read several novels about such governesses in preparation for her interview and found them chock-full of useful information, although she had no intention of developing romantic feelings for the charming, penniless tutor at a neighboring estate. Or - heaven forbid! - for the darkly handsome, brooding, and extravagantly wealthy master of her own household. Lord Frederick Ashton was newly married in any case, and she had no inkling what his complexion might be — Maryrose Wood