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"I will translate for you word by word what it says," replied she, nerving herself for the crisis till her face was like marble, though I could see she could not prevent the gleam of secret rapture that had visited her, from flashing fitfully across it. "Calmez vous, mon amie. Do not be afraid, my friend. Il vous aime et il vous cherche. He loves you and is hunting for you.

This Lynch law was complicated with mistakes. On one day of rioting, a young poet, named Paul Aime Garnier, was pursued in the Place Royale, with a bayonet at his loins, and only escaped by taking refuge under the porte-cochere of No. 6. They shouted: "There's another of those Saint-Simonians!" and they wanted to kill him.

In some respects similar to the experience of Aime Bonpland was that of Ludwig Halberger. Like the former, an ardent lover of Nature, as also an accomplished naturalist, he too had selected South America as the scene of his favourite pursuits. On the great river Parana better, though erroneously, known to Europeans as the La Plata he would find an almost untrodden field.

'Allah! Allah! sighed the Sheykh Huseyn, telling his beads. 'Mon bère est triste, tu vois. Il aime bas quitter, murmured his hopeful son in tones of high delight, the feeling proper to express before a new acquaintance of my quality. 'Curse the religion of these flies! It is extremely hot! exclaimed the chief in momentary irritation.

They are of inestimable value. Aimé Martin. Aimé Martin. Ibid. See the Memoirs of Pepys, Evelyn, De Grammont, &c. "The fact of this influence being proved, it is of the utmost importance that it be impressed upon the mind of women, and that they be enlightened as to its true nature and extent."

One might almost think Aimé Martin and the other great authorities on this subject wrote in a mood of irony. The daisy, too, presents you Innocence, "companion of the milk-white lamb," Mr. Miller calls it. I am sorry for the milk-white lamb. It was one of the earliest discoveries of systematic botany that the daisy is a fraud, a complicated impostor. The daisy is not a flower at all.

His resort to Gregorian principles is, it has been observed, far from being a matter of recent history with him. Almost twenty years ago we find him writing in the spirit of the old modes. Examine the opening phrases of his song, Harmonie du Soir (composed in 1889-1890), and note the felicitous adaptation to modern use of the "authentic" mode known as the Lydian, which corresponds to a C-major scale with F-sharp. Observe the use of the same mode in the introductory measures, and elsewhere, of his setting of Verlaine's Il pleure dans mon coeur , the second of the "Ariettes." Five years later, in Pelléas et Mélisande, the trait is omnipresent too extensive and obvious, indeed, to require detailed indication. One might point out, at random, the derivation from the seventh of the ecclesiastical modes (the Mixolydian) of the phrase in the accompaniment to Arkël's words in the final scene, "L'âme humaine aime

He has nothing to regret in the schools through which he passed, in the preparations which he made there for the future, in the way in which they shaped his life. He lays down the maxim, "On ne doit jamais écrire que de ce qu'on aime."

Quelles délices, quel délire, Dans sa bouche et son sourire! Et sa voix qui ne dirait Que le rossignol chantait? Qu'elle est belle la marquise! La marquise! ma marquise! Bel amour est sa devise, Et sa profession de foi Est: je vous aime aimez moi! Qu'elle est belle la marquise! "Oh, how interesting!" cried Lilly. "I shall die if I don't find out something more about him."

Indeed, as early as 1886 a French painter, M. Aimé Morot, availed himself of the information afforded by the then quite novel instantaneous photographs of the galloping horse, and exhibited a picture of the cavalry fight at Rezonville between the French and Germans, in which the old flying gallop does not appear, but the attitudes of the horses are those revealed by the new photographs.