United States or Portugal ? Vote for the TOP Country of the Week !
What I mean is this: Maupassant's temperament was utterly different from Flaubert's. They were both prosecuted for certain things they wrote, Guy for a poem in 1880, at Estampes; there had been a détraqué nervous system in both cases. Yet, similar in ideals and physical peculiarities as were these two men, there was a profound psychical gulf between their temperaments.
The writer discovered this in the course of many amateur print- and book-cleaning experiments, and has since found his experience confirmed by the high authority of M. Bonnardot, in his "Essai sur l'Art de Restaurer les Estampes et les Livres." Our present concern is, however, only with the writing which is in the ordinary letter, and in pencil.
Our modern craftsmen now draw without acknowledgment from them, pore incessantly over the treasures of the Cabinet des Estampes, borrow adroitly, and give out their pastiches for new inventions. Pons had obtained many a piece by exchange, and therein lies the ineffable joy of the collector. The joy of buying bric-a-brac is a secondary delight; in the give-and-take of barter lies the joy of joys.
Our modern craftsmen now draw without acknowledgment from them, pore incessantly over the treasures of the Cabinet des Estampes, borrow adroitly, and give out their pastiches for new inventions. Pons had obtained many a piece by exchange, and therein lies the ineffable joy of the collector. The joy of buying bric-a-brac is a secondary delight; in the give-and-take of barter lies the joy of joys.
With the production at Paris in the spring of 1902 of Claude Debussy's Pelléas et Mélisande, based on the play of Maeterlinck, the history of music turned a new and surprising page. "It is necessary," declared an acute French critic, M. Jean Marnold, writing shortly after the event, "to go back perhaps to Tristan to find in the opera house an event so important in certain respects for the evolution of musical art." The assertion strikes one to-day, five years after, as, if anything, over-cautious. Pelléas et Mélisande exhibited not simply a new manner of writing opera, but a new kind of music a new way of evolving and combining tones, a new order of harmonic, melodic and rhythmic structure. The style of it was absolutely new and absolutely distinctive: the thing had never been done before, save, in a lesser degree, by Debussy himself in his then little known earlier work. Prior to the appearance of Pelléas et Mélisande, he had put forth, without appreciably disturbing the musical waters, all of the extraordinary and individual music with which his fame is now associated, except the three orchestral "sketches," La Mer (composed in 1903-1905 and published in the latter year), the piano pieces Estampes , and Images, Masques, l'Île joyeuse , and a few songs. Certain audiences in Paris had heard, nine years before, his setting of Rossetti's "Blessed Damozel" (La Demoiselle Élue), a "lyric poem" for two solo voices, female chorus, and orchestra; in the same year his string quartet was played by Ysaÿe and his associates; in 1894 his Prélude
He was aware of the violent passion still felt by Henry for Gabrielle d'Estrées, and in order to escape the penalty of his rebellion he offered the hand of his only daughter, with the duchies of Estampes, Penthièvre, and Mercoeur as her dowry, to the King's natural son César de Vendôme; a proposal which was at once accepted, as the monarch was aware that it would gratify the ambition of his mistress.
The prince made the king and his son, the lord James of Bourbon, the lord John d'Artois, the earl of Tancarville, the earl of Estampes, the earl Dammartin, the earl of Joinville and the lord of Partenay to sit all at one board, and other lords, knights and squires at other tables; and always the prince served before the king as humbly as he could, and would not sit at the king's board for any desire that the king could make, but he said he was not sufficient to sit at the table with so great a prince as the king was.
They were of a nature to which he usually does full justice, even overestimating perhaps their charm of suggestion; but, at the hour I speak of, the old Parisian quay, the belittered print-shop, the pleasant afternoon, the glimpse of the great Louvre on the other side of the Seine, in the interstices of the sallow estampes suspended in window and doorway all these elements of a rich actuality availed only to mitigate, without transmuting, that general vision of a high, cruel pillory which pieced itself together as I drew specimen after specimen from musty portfolios.
I will not beleeve they have altered or changed any thing concerning the generalitie of matters, but rather to wrest and turne the judgement of the events many times against reason, to our advantage, and to omit whatsoever they supposed to be doubtful or ticklish in their masters life: they have made a business of it: witnesse the recoylings of the Lords of Momorancy and Byron, which therein are forgotten; and which is more, you shall not so much as find the name of the Ladie of Estampes mentioned at all.
The royal demesnes consisted only of Paris, Orleans, Estampes, Compeigne, and a few places scattered over the northern provinces: in the rest of the kingdom, the prince's authority was rather nominal than real: the vassals were accustomed, nay entitled, to make war, without his permission, on each other: they were even entitled, if they conceived themselves injured, to turn their arms against their sovereign: they exercised all civil jurisdiction, without appeal, over their tenants and inferior vassals: their common jealousy of the crown easily united them against any attempt on their exorbitant privileges; and as some of them had attained the power and authority of great princes, even the smallest baron was sure of immediate and effectual protection.
Word Of The Day