“ IN Celia's arms while bless'd I lay, My soul in bliss dissolved away: 'Tell me,' the charmer cried, 'how well 'You love your Celia; Strephon, tell.' Kissing her glowing, burning cheek, 'I'll tell,' I cried — but could not speak. ”
Celia
Definition and stakes
The literary concept of Celia encompasses a recurring female figure often linked with romantic idealism, emotional depth, and moral challenges. From Henry Fielding’s poetic reverence for the name in The Question to Lope de Vega’s dramatic dialogues in Castelvines y Monteses, Celia appears both as an inspiration and a moral challenge.
Charles Garvice portrays her as a discerning witness to marital discord, while Witter Bynner elevates her to a symbolic figure in the natural world. A. E. W. Mason, on the other hand, places her within intense psychological suspense. These diverse portrayals reveal Celia as a complex archetype, reflecting evolving literary perspectives on femininity, longing, and ethical dilemmas across centuries.
Quotes about “Celia”
Lope de Vega,
Castelvines y Monteses — Act I, Scene II
(1869)
“ Celia. Come, lady, the hour for bed The clock hath long since marked. Julia. I care not yet to rest. Celia. Shall I Roselo Montes call, That he may bid thee seek with speed Those slumbers which thy sleepless eyes so need? Julia. How sweet to drink his name's sweet syllables. Place ready for the morrow, Celia, pray, The dress I yestereven wore, When I did see my cousin Dorotea. Celia. Pray heaven, that Roselo Montes be— Julia. What? Celia. Thy husband. Julia. Thou said'st but now that such could never be. Celia. Love changes never into ever, so I have heard my grandam say. ”
Charles Garvice,
The Woman's Way
“ Celia noted the petulant droop of the almost perfect lips, the faint lines of weariness which trailed from the corners of them, noted the weakness of the chin, the restlessness of the blue eyes which shone like amethysts in the firelight; it was evident to Celia that this beautiful, graceful young creature was not a happy woman. She did not know how much, since her marriage, Miriam had deteriorated, mentally and spiritually. One cannot touch pitch and escape undefiled. ”
“ On a path where thrushes wake—called Celia’s Way—Time after timeShe led me high among the rills.And always when I pass again our chosen pine And feel upon my brow the fineSoft pressure of an unseen web and brushIt from my face expectantly and climbWide-eyed into the mountains’ windy hush,Among the green and healing hillsI have found Celia.For the morning fillsWith her and afternoon and twilight. She is always thereAs sweet within me as the intimate air. ”
A. E. W. Mason,
At the Villa Rose — XVIII The séance
(1910)
“ Darkness again filled the recess instead of the grey twilight. But in a moment a faint breath of wind played upon Celia's forehead, and she knew that the man had parted the curtains and slipped into the room. Celia let her head fall towards her shoulder. She was sick and faint with terror. Her lover was in this plot—the lover in whom she had felt so much pride, for whose sake she had taken herself so bitterly to task. He was the associate of Adèle Rossignol, of Hélène Vauquier. He had used her, Celia, as an instrument for his crime. ”
Lope de Vega,
Castelvines y Monteses — Act II, Scene I
(1869)
“ Come, Celia, come, and quickly too, Lest grief and shame shall hold me in such train, Where modest maiden dare not safely long remain. Celia. Should but these evils end to-day All may be well. Come, Lady Julia, let's away. ”
Robert W. Chambers,
Ailsa Paige: A Novel
“ Sometimes Celia comes from the still, leafy seclusion of Fort Greene Place, to love me, caress me, gently jeer at me for the hint of melancholy in my gaze, shaming me for a love-sick thing that droops and pines in the absence of all that animates her soul and body with the desire to live. ”
Charles Garvice,
The Woman's Way
“ The movement released Celia from her spell; a pang of pity smote her at the sight of the white, drawn face, the hopeless despair in the young fellow's eyes; her womanly compassion, that maternal instinct which the youngest of girl-children possesses, gave her courage. She leant forward, loosened the stiff, cold fingers and took the revolver from them. ”
A. E. W. Mason,
At the Villa Rose — XVIII The séance
(1910)
“ Celia's vague terror grew. She had a feeling that a beast was waking in the woman, and with it came a growing premonition of failure. Vainly she cried to herself, "I must not fail to-night." But she felt instinctively that there was a stronger personality than her own in that room, taming her, condemning her to failure, influencing the others.She was placed in a chair. Adèle passed a cord round her ankles, and the mere touch of it quickened Celia to a spasm of revolt. Her last little remnant of liberty was being taken from her. She raised herself, or rather would have raised herself. ”
Various, McClure's Magazine, Vol. XXXI, No…
“ With grave, peculiar tenderness, Celia, before leaving, took up the baby and searched his little face, looked deep into his eyes, which told her of his mysterious little soul no more than before. She knew it was like trying to force open a shut flower. “Whatever happens now, dear,” she said to him, though without audible words, “we two go together. All that happens to you, happens to me. If you are in the future to be bad or afflicted, I am to be unhappy. ”
Lola Ridge,
Sun-Up, and Other Poems
“ Celia's shadow rocks and rocks... and mama's eyes stare out of the pillow as though she had gone away and the night had come in her place as it comes in empty rooms... you can't bear it— the night threshing about and lashing its tail on its sides as bold as a wolf that isn't afraid— and you scream at her face, that is white as a stone on a grave and pull it around to the light, till the night draws backward... the night that walks alone and goes away without end. ”
A. E. W. Mason,
At the Villa Rose — XIX Hélène Explains
(1910)
“ The maid was carrying Celia's white coat. They did not mean to murder her, then. They meant to take her away, and even then a spark of hope lit up in the girl's bosom. For even with her illusions crushed she still clung to life with all the passion of her young soul.The two women stood and looked at her; and then Adèle Rossignol burst out laughing. Vauquier approached the girl, and Celia had a moment's hope that she meant to free her altogether, but she only loosed the cords which fixed her to the pillar and the high stool. ”
Lola Ridge,
Sun-Up, and Other Poems
“ I CELIA Cherry, cherry, glowing on the hearth, bright red cherry.... When you try to pick up cherry Celia's shriek sticks in you like a pin. : : When God throws hailstones you cuddle in Celia's shawl and press your feet on her belly high up like a stool. When Celia makes umbrella of her hand. Rain falls through big pink spokes of her fingers. When wind blows Celia's gown up off her legs she runs under pillars of the bank— great round pillars of the bank have on white stockings too. ”
M. E. Braddon,
The cloven foot
(1879)
“ But here was a young man who must wait for years before he could marry; or must drag some poor young woman down into the dismal swamp of genteel poverty. Celia felt honestly sorry for him. Of all the men she had ever met he seemed to her the most manly, the brightest, the bravest—perhaps altogether the best. If not exactly handsome, there was that in his marked features and vivid expression which Celia thought more attractive than absolute regularity of line, or splendour of colour. ”
Harold Frederic,
The Damnation of Theron Ware
“ When the family moved into this mansion, it was with a consciousness that the only one who really belonged there was Celia. She alone could behave like one perfectly at home. It seemed entirely natural to the others that she should do just what she liked, shut them off from her portion of the house, take her meals there if she felt disposed, and keep such hours as pleased her instant whim. If she awakened them at midnight by her piano, or deferred her breakfast to the late afternoon, they felt that it must be all right, since Celia did it. ”
Various, Punch, or the London Charivari…
“ Twice a week Celia ties up parcels for the Fleet. Ordinary people provide the blankets, sea-boots, chocolate, periscopes and so forth; Celia looks after the brown paper and string, which always seems to me the most tricky part. There are a dozen of them, all working together; and you can imagine (or, anyhow, I can) Vera or Kitty or Isobel, her mouth full of knot, gossiping away about her highly-placed relations, while Beryl or Evelyn or Lorna looks up from the parcel she is kneeling on and interrupts, "Well, my brother heard——I say, where did you put my scissors?" ”
Lope de Vega,
Castelvines y Monteses — Act III, Scene I
(1869)
“ Celia. Didst drink it all, sweet child? Julia. Each drugged drop, unto the last. Celia. What feel you now? Julia. That every vein doth throb and burst, And every breath comes thick and hard; A crushing weight doth rest upon my heart; Oh heavens, Celia! Celia. Sweet lady! Julia. Madness now seems to seize my beating brain! Celia. What treachery's this? Would I had ne'er been born To be the messenger of ill, sweet girl! Julia. I would thou'dst brought it earlier. Oh, sweet sleep! Tell my Roselo not my death to weep. Celia. Alas! alas! dear lady, I! ”
A. E. W. Mason,
At the Villa Rose
“ Celia turned her back and crossed her wrists. She stood in her satin frock, with her white arms and shoulders bare, her slender throat supporting her small head with its heavy curls, her big hat—a picture of young grace and beauty. She would have had an easy task that night had there been men instead of women to put her to the test. But the women were intent upon their own ends: Mme. Dauvray eager for her seance, Adele Tace and Helene Vauquier for the climax of their plot. ”
Lope de Vega,
Castelvines y Monteses — Act III, Scene I
(1869)
“ Celia. Thou knowest, lady, he's well skill'd In subtlety of herb and poisonous weed, And hath a fame more wide than all Verona holds. (Some lines wanting here.) Julia. He calls Roselo and myself his children. (Some lines wanting here.) He watch'd our growing love from earliest bud; True he is learned in every herb that springs, And every subtle distillation, too, he knows; Should this be weak, and should its charm Lead me to love the Count, and so Roselo harm? Celia. To think thus, lady, is but witless wit. ”
Harold Frederic,
The Damnation of Theron Ware
“ He turned his gaze from the swings toward Celia, to claim the sympathy he knew she would feel for him. But Celia was otherwise engaged. A young man had come up to her—a tall and extremely thin young man, soberly dressed, and with a long, gaunt, hollow-eyed face, the skin of which seemed at once florid and pale. He had sandy hair and the rough hands of a workman; but he was speaking to Miss Madden in the confidential tones of an equal. ”
Emily Sarah Holt, Ashcliffe Hall: A tale of the last century (1870)
“ Celia sighed. Her words did not appear to have made the faintest impression. "What a sigh!" said Philip. "My dear little Celia! do you take me for an utter reprobate, that you think it necessary to mourn over me in that way?" "Philip," said Celia, very solemnly, "a man must be either inside the sheepfold of Jesus, or outside it. Without is without, whether the door which he refuses to enter be a yard from him or a thousand miles. ”
Nathan Drake, Shakspeare and His Times [Vol. 2 of 2…
“ Celia, the purity of sisterly affection, whilst love in all its innocence and gaiety binds in delicious fetters, not only the younger exiles, but the pastoral natives of the forest. A day thus spent, in all the careless freedom of unsophisticated nature, seems worth an eternity of common-place existence! ”
Harold Frederic,
The Damnation of Theron Ware
“ Then all at once they beheld a big Celia, whom they spoke of as being home again, but who really seemed never to have been there before—a tall, handsome, confident young woman, swift of tongue and apprehension, appearing to know everything there was to be known by the most learned, able to paint pictures, carve wood, speak in divers languages, and make music for the gods, yet with it all a very proud lady, one might say a queen. ”
Emily Sarah Holt, Ashcliffe Hall: A tale of the last century (1870)
“ But you must never look astonished, no matter what happens to you. And, Celia, last night, when the Consul spoke to you, you absolutely looked perplexed." "I felt so, Madam," said Celia. "Is not that just what I am telling you?" replied Lady Ingram, with that graceful wave of her hands which Celia had seen before. "My dear, you must not feel. Feeling is the one thing which the mode cannot permit." "Pardon me, Madam," answered Celia, looking perplexed now; "but it seems to me that you are trying to make me into a statue." "Exactly so, my dear Celia—that is just it. ”
A. E. W. Mason,
At the Villa Rose — XVCelia's Story
(1910)
“ She took Celia to the fortune-teller's rooms next day, and the girl quickly understood the ruling passion of the woman who had befriended her. It took very little time then for Celia to notice how easily Mme. Dauvray was duped, how perpetually she was robbed. Celia turned the problem over in her mind."Madame had been very good to me. She was kind and simple," said Celia, with a very genuine affection in her voice. "The people whom we knew laughed at her, and were ungenerous. But there are many women whom the world respects who are worse than ever was poor Mme. Dauvray. ”
M. E. Braddon,
The cloven foot
(1879)
“ Come, now, Celia, be sisterly for once in your life. What has Laura told you about John Treverton?’‘Nothing. She is particularly reserved upon the subject. I know that it is a painful one for her, and I rarely approach it.’‘Well, he is a lucky dog. I never hated a fellow so much. I have an instinctive idea that he is a scoundrel.’‘Are not instinctive ideas convictions that jump with our own inclinations?’ speculated Celia, philosophically. ‘I am heartily sorry for you, Ned dear, for I know you are fond of Laura, and it does seem hard to have her willed away from you like this. ”
Walter Besant,
For Faith and Freedom
“ The marbled Saint, so cold and pure, Minds naught of earthly ways; Nor can man's gauds entice or lure That fixéd heavenly gaze. So Celia, though thou Queen and Empress art, To heaven, to heaven alone, belongs thy heart. ”
M. E. Braddon,
The cloven foot
(1879)
“ Celia was in excellent spirits all breakfast-time, and poured out tea and coffee with a vivacity and a grace worthy of French comedy. The presence of a strange young man had a wonderfully brightening influence. Celia felt grateful to her brother for having afforded this unaccustomed variety in the monotonous course of rural life. She took more pains than usual in putting on her bonnet for church, though that was an operation which she always performed carefully; and she happened somehow to be walking by Mr. Gerard’s side for the few hundred yards between the Vicarage and the lych-gate. ”
George Eliot,
Middlemarch
(1874)
“ Celia felt a little hurt. There was a strong assumption of superiority in this Puritanic toleration, hardly less trying to the blond flesh of an unenthusiastic sister than a Puritanic persecution. "But how can I wear ornaments if you, who are the elder sister, will never wear them?" "Nay, Celia, that is too much to ask, that I should wear trinkets to keep you in countenance. If I were to put on such a necklace as that, I should feel as if I had been pirouetting. The world would go round with me, and I should not know how to walk." ”
Charles Garvice,
The Woman's Way
“ Not a word had been said by either Celia or he of the graceful, richly-dressed woman she had seen leaving his room. Of course, she was the woman who had wrecked his life. Celia began to piece the story together; they had loved each other—at any rate, he had loved her—probably for years; he had loved her with all his heart, and she with, perhaps, a small half; she had thrown him over to marry a wealthy man—and yet, that theory seemed scarcely consistent; for a wealthy man would not need to commit forgery. ”
George M. Vickers, The speaker's ideal entertainments (1892)
“ Your grace is too costly to wear every day.Of the same bright, refreshing character is Celia, but Beatrice is more brusque, while Celia has a tender vein of womanliness which tones her raillery, while her sprightliness is more strongly thrown out in the early scenes of the play by its contrast with the constantly recurring melancholy of Rosalind. ”
Barry Pain,
Celia and the Ghost
(1916)
“ Celia sprang to her feet, thus dropping an apple and the greater part of a biscuit.“So you’ve run away, little girl, have you?” said a man’s voice. Well, yes, Celia admitted, it was a pleasant voice. And she liked the looks of the young man who stood on the other side of the stile. Not handsome, perhaps, but interesting—which, in Celia’s view, was so much better. Yet it was necessary to show that Miss Melrose knew how to take care of herself. ”
Eleanora H. Stooke, The moat house (1905)
“ Celia cried, unbelievingly."I doubt it, my dear, for I am afraid you are very far from knowing the secret of contentment, which is trust in God, and the belief that He knows what is best for you. Riches would not make you happy."Celia looked incredulous. She thought if she was rich she would be perfectly happy. She longed to wear fine clothes, and have plenty of pocket-money; and she could not understand why her mother hesitated to accept Sir Jasper Amery's invitation. ”
