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"If Signora Malveda will lend me four thousand scudi, I should then have ten thousand to offer you!" "Well, so be it. Ten thousand scudi will do, if you will add to it a trifling favor." "Name it," said Braschi. "You know that Ganganelli opposes the crowning of our famous improvisatrice, Corilla, in the capitol. This is an injustice which Ganganelli's successor will have to repair.
Bernis had not time to answer her. Just at that moment the curtain drew up, a general "Ah!" of admiration was heard, and, suddenly carried away by their feelings, the whole audience broke into extravagant and long-enduring applause, crying and shouting, "Evviva Corilla! l'improvisatrice Corilla!" And in fact it was an admirable picture which was there presented to the audience.
I had expected a female of the loud declamatory type: something of the Corilla Olimpica order; but in this was agreeably disappointed. The Signorina V. is modestly lodged, lives in the frugal style of the middle class, and refuses to accept a title, though she is thus debarred from going to court. Were it not indiscreet to speculate on a lady's age, I should put hers at somewhat above thirty.
You have set of crown of thorns upon the head of your beloved, I would bind a laurel-crown upon the beautiful brow of my Corilla, which will not wound her head, and will not cause her to die of grief. You are not willing to aid me in this, my work? You refuse me this laurel-wreath because you have only martyr-crowns to dispose of?
Margaret J. Grove, who with her sisters, Mrs. Corilla E. Shearer and Miss Ellen D. Harn, all still living, aged 89, 90 and 92, led in the early suffrage work in the State, and Mrs. Mary Reed of Fairmont also was a pioneer. Little public work was done until an active suffrage movement was inaugurated in Virginia and in 1912 Miss Mary Johnston came to Charleston and organized a club.
Therefore it was that Corilla now wept, and with occasional outbreaks of passionate exclamations violently paced her room. Her cheeks glowed, her eyes flashed she was very beautiful in this state of excitement. That she must have acknowledged to herself as her glance accidentally encountered her own face in the glass.
In character drawing no one can, on occasion, be a more uncompromising realist than George Sand. André, Horace, Laurent in Elle et Lui, Pauline, Corilla, Alida in Valvèdre, might be cited as examples. But her theory was unquestionably not the theory which guides the modern school of novel writers. She wrote, she states explicitly, for those "who desire to find in a novel a sort of ideal life."
"I come directly from him." "Well, and what says he?" "What he always says to me no!" Corilla stamped her feet violently, and her eyes flashed lightnings. "How beautiful you are now!" tenderly remarked the cardinal, throwing an arm around her. She rudely thrust him back. "Touch me not," said she, "you do not deserve my love. You are a weakling, as all men are.
They listened not for the thought, but only for the rhyme, and with ecstatic smiles and admiring glances they nodded to each other when, thanks to the studies which Corilla had made in Tasso, Marino, and Ariosto, she seemed of herself to find rhymes for the most difficult words.
These inquisitive lord cardinals had formed a circle around her, she seemed to herself a prisoner; it alarmed her to thus find herself the central point of all these attractions. Not far from her stood Corilla, with glowing cheeks and anger-flashing eyes.
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