Medieval Quotes - Page 3

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In the ancient world, taxes were paid in kind: landowners paid in crops or livestock; the landless paid with their labor. Taxing trade made medieval monarchs rich and funded the early-modern state.

A seventeenth-century house can be recognized by its steep roof, massive central chimney and utter porchlessness. Some of those houses have a second-story overhang, emphasizing their medieval look.

Most cities are eclectic. There's a bit of medieval, Georgian, some Victorian and some 20th century. That's fine. Bath is different because it was built within 100 years or less. It has a homogeneity.

If the Jew transmogrified into the Devil for the medieval church, he retained his devilish characteristics as Christian sentiment found other places to express itself, early socialism being one of them.

The 'gallows' are not only a symbol of death, but also a symbol of cruelty, terror and irreverence for life; the common denominator of primitive savagery, medieval fanaticism and modern totalitarianism.

ISIS itself, it draws its central belief system from the Koran and from the writings of the Prophet Muhammad. That is undeniable. And it's a medieval interpretation of it. It is a literal interpretation of it.

Historically, art has always had a market. When one medieval fiefdom defeated another they would drag back its jewels, gold, tapestries and art objects as the spoils of war. Art equaled power, riches and culture.

The rosary was said every evening. I always liked that sentence about the medieval Churches, that they were the Bibles of the poor. The Church was my first book and I would think it is still my most important book.

Americans overall may live better than medieval aristocrats could dream of, but that means nothing when oligarchs live in the neighborhood next door, flaunting their luxurious homes and top-quality private schools.

There are Arthurian legends in 14 or 15 medieval European languages. They are the product of no one time or place. On the contrary, in sum they represent a tremendous mine of human understanding, rather as the Bible does.

The construction of 'Sekiro''s world is based on that of traditional Sengoku, or medieval Japan. To that end, we made sure to reference a lot of written materials on that period as well as actually visit several locations.

I grew up under the spell of London. Illustrator Kerry Lee's evocative 1950 wall map of the city hung above our breakfast table at home in Canada. Over my corn flakes, I traced the capital's high roads and medieval alleys.

So many of the fantasy stories I encountered growing up were set in worlds that were largely modelled on medieval Europe in one way or another. Lots of white folks in feudal societies, castles and kings, that kind of thing.

Apart from medieval China, which invented both paper and printing centuries before the West, the world had never seen government paper money until the colonial government of Massachusetts emitted a fiat paper issue in 1690.

I know I wouldn't have made the callback for 'Ma' if my father's house had not burned down because I would have been in finals. My teachers would not have been chill with me leaving in the middle of my Medieval Magic final.

I decorated my house like a medieval gothic castle, European-style. Chandeliers and red velvet curtains. My bedroom is pink and black, my bathroom is totally Hello Kitty, I have a massive pink couch and a big antique gold cross.

Ever since the end of Medieval feudalism, and the writings of John Locke, we have understood the importance of being able to buy and sell one's own property, including books and watches, both for reasons of economics and liberty.

I spend my weekends with my Android phone in an elastic band that has tied to my Android phone my driver's license and my credit card. That's how I live. I'm not carrying a wallet anymore. Like, a wallet is a medieval item, right?

I was traumatised in the medieval Afghan society at Sarana village by the local boys of Omar's Taliban who forced my in-laws to subjugate me for trying to be different. There can be Omars in other religions, too, who oppress women.

Childhood is not dead. Children were worse off when we were hunter-gatherers; they were threatened in medieval times and exploited during the Industrial Revolution. Was it any better in the time of Charles Kingsley or Charles Dickens?

Consumerism has become a new religion, complete with its high priests at Which? and its fatwas against anyone with the temerity to try to sell anything at more than cost price ... It is a depressingly medieval outlook on economic life.

When I moved to Wales more than twenty years ago and began to research 'Here Be Dragons,' I was fascinated from the first by the Welsh medieval laws, by the discovery that women enjoyed a greater status in Wales than elsewhere in Europe.

Beginning in the 11th century, a less-fragmented Europe began to take shape, and what we now call medieval culture - in which literature and learning made a noticeable rebound - spread through much of the territory Rome had once dominated.

So much of our fictional medievalism is distorted through a lens of Protestantism and the Reformation, slanted even further through Victorian anti-Catholicism. The depiction of actual medieval attitudes toward the Church is remarkably rare.

We now think it hilarious that medieval streets were used as open sewers. Equally, our descendants will say: 'You won't believe this, but people were once allowed to hurl a couple of tons of dangerous metal around smashing into each other.'

Amplifying atoms is more subtle than amplifying electromagnetic waves because atoms can only change their quantum state and cannot be created. Therefore, even if one could amplify gold atoms, one would not realize the dreams of medieval alchemy.

Back in medieval times, Victorian repression hadn't come in yet. People were bawdy and wild and more in touch with their true natures. If you look at the Bosch paintings or Bruegel, you see, when people are dancing, they're totally cutting loose.

So long as our Corps fields such Marines, America has nothing to fear from tyrants, be they Fascists, Communists or Tyrants with Medieval Ideology. For we serve in a Corps with no institutional confusion about our purpose: To fight! To fight well!

The costumes are insane on 'Once Upon a Time.' It did influence my taking the job, the fact that not only would I be horseback riding and sword fighting and traipsing through the woods but I would be doing all those things in insane, medieval garb.

We think of medieval England as being a place of unbelievable cruelty and darkness and superstition. We think of it as all being about fair maidens in castles, and witch-burning, and a belief that the world was flat. Yet all these things are wrong.

My first published novel was 'Mother of Demons,' which is simply 'The High Crusade' standing on its head. Poul Anderson placed his medieval human heroes in a futuristic alien setting; I placed my futuristic human heroes in a bronze age alien setting.

I not only hope that YouTube channels compete with television shows for viewers and revenue, I hope they develop a bitter rivalry which could only be settled by an elaborate medieval tournament where the two entities fight to the death in a steel cage.

Cities are about juxtaposition. In Florence, classical buildings sit against medieval buildings. It's that contrast we like. In Bordeaux, we built law courts right next door to what is effectively a listed historic building, and that makes it exciting.

My concern is to keep religion and the state separated. I don't think that religion and politics go together. When you see political decisions colored by religion, decisions that affect us all... I thought: 'I do not want to go back to medieval times.'

My mom used to make my costumes when I was little; she sews a lot. One year, I was a bride and I had a big wedding dress and a bouquet. Another year I was a medieval princess with a long teal dress and a veil. It was a little extravagant, but it was cute!

In Peter Ackroyd's book 'London: The Biography,' he describes the route of the medieval wall that enclosed the original city. Take the book and follow it from the Tower of London via the Barbican to Ludgate Hill. You experience the real history of London.

My tastes went all over the place, from Strauss to Mahler. I was never a big Wagner or Tchaikovsky fan. Benjamin Britten, Tallis, all the early English Medieval music, Prokofiev, some Russian composers, mostly the people that were the colorists, the French.

When you're doing a medieval show like 'Pillars,' it starts off a bit like a school play. You're all in funny costumes; you've had your coffee, and you say, 'Good morning'. Then you go on set and, if you've got good actors and directors, it takes on a life of its own.

Imagine: in the medieval ages, there was no evidence of how the history of mankind has been affected by witchcraft. But there is significant factual history of how brutality and sadism of mankind have been displayed in the most obscene manner in the name of witch-hunt.

My parents took me to a movie, and I remember wanting to sit apart from them for some reason. I wanted to be a big boy or whatever. I remember looking up on that screen. It was a movie about medieval knights. All I remember is saying, 'I want to do that. I want to make movies.'

Romney Marsh remains one of the last great wildernesses of south-east England. Flat as a desert, and at times just as daunting, it is an odd, occasionally eerie wetland straddling the coastal borders of Kent and Sussex, rich in birds, local folklore and solitary medieval churches.

One of my favourite things to think about is, if you could be invisible and go back in time, where would you go? I've always said ancient Egypt. I would love to see them building the pyramids, and I've always had a real fascination with medieval time and monarchy in medieval times.

If you were a medieval scholar reading a book, you knew that there was a reasonable likelihood you'd never see that particular text again, and so a high premium was placed on remembering what you read. You couldn't just pull a book off the shelf to consult it for a quote or an idea.

In the first book of my Discworld series, published more than 26 years ago, I introduced Death as a character; there was nothing particularly new about this - death has featured in art and literature since medieval times, and for centuries we have had a fascination with the Grim Reaper.

When the Great Fire of London destroyed most of the medieval city in 1666, Christopher Wren was invited to design a new one. Within days, he had drawn up an elegant grid of broad boulevards leading to majestic squares, but it came to nothing - the existing landowners wanted things as they had been.

I think every culture - you can call it an American Ronin, a medieval knight errant, you could talk about 'Shane.' There is an archetype that I think is actually common to a lot of cultures, and even the Clint Eastwood stuff was probably as influenced by the Japanese stuff, and yet done by an Italian.

I don't know if I have any particular views about women in positions of power, though I do think it's more difficult for women, particularly in a Medieval setting. They have the additional problem that they're a woman and people don't want them in a position of power in an essentially patriarchal society.

I was born on September 30, 1939, in Rosheim, a small medieval city of Alsace in France. My father, Pierre Lehn, then a baker, was very interested in music, played the piano and the organ, and became, later, having given up the bakery, the organist of the city. My mother Marie kept the house and the shop.

Compromise is not such ignoble and deplorable a thing as we generally think. It is rather an indispensable factor in the political strategy. Any nation that rises against the oppressors is bound to fail in the beginning and to gain partial reforms during the medieval period of its struggle through compromises.

In writing my historical novels, I have to rely upon my imagination to a great extent. I think of it as 'filling in the blanks.' Medieval chroniclers could be callously indifferent to the needs of future novelists. But I think there is a great difference between filling in the blanks and distorting known facts.

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