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There is a lovely parallel to Catherine's prayer in the Paternoster of Dante's blessed souls in Purgatory: "Come del suo voler gli angeli tuoi Fan sacrificio a te, cantando osanna, Cosi facciano gli uomini de' suoi."
"Les Huguenots," a grand opera in five acts, words by Scribe and Deschamps, was first produced at the Académie, Paris, Feb. 29, 1836, with the following cast of the principal parts: VALENTIN Mlle. FALCON. MARGUERITE DE VALOIS Mme. DORUS-GRAS. URBAIN Mlle. At its first production in London in Italian, as "Gli Ugonotti," July 20, 1848, the cast was even more remarkable than that above.
"Cantò l'armi pietòse e 'l capitanò Che 'l gran Sepòlerò liberò di Cristò; Mòltò egli òprò còl sennò e còn la manò, Mòltò sòffri nel glòriòsò acquistò; E invan l'infernò a lui s'òppòse; e invanò S'armò d'Asia e di Libia il pòpòl mistò; Che il ciel gli diè favòre, e sòttò ai santi Segni ridusse i suòi còmpagni erranti."
But who can stop il diavolo e gli suoi angeli? Why, signor, if they want foxes, I myself, Beppo Donati, would catch them any number for a paul or two. But they are all mad, all mad. And the dogs, it is well known how they became possessed; for," lowering his voice and coming nearer me, "I myself saw the arch-fiend himself and his legions enter them bodily. I will tell the signor how it was.
I have not yet quite got over my last violent attack, and am weak and flimsy. I have now drank the waters but three days; so that, without a miracle, I cannot yet expect much alteration, and I do not in the least expect a miracle. If they proved 'les eaux de Jouvence' to me, that would be a miracle indeed; but, as the late Pope Lambertini said, 'Fra noi, gli miracoli sono passati girt un pezzo'.
With your great fires you will always be cold and always have colds; for the houses are not tight, and you only create great draughts thereby. You will not persuade an Italian to sit near them; "Scusa, Signore" he will say, "mi fa male; se non gli dispiace, mi metto in questo cantone," and with your permission he takes the farthest corner away from the fire.
Then, on the 1st of April, he said that the Virgin Mary had revealed to him that the city would be more glorious, rich, and powerful than ever before, and, as Landucci says, "La maggiore parte del popolo gli credeva." He also said that the Greater Council was the creation of God, and that whoever should attempt to change it would be eternally damned. Nor was this all.
The song she had chosen was a fine setting of some words selected from Leopardi's grand Ode to Italy: "O patria mia, vedo le mura c gli archi E le colonne e i simula-cri e l'erme Torridegli avi nostri" This was recitative: then followed "Ma la gloria non vedo" a mournful melody, a rhythmic plaint.
Perdona Tu ancora, al corpo no che nulla pave All'alma si: deh per lei prega; e dona Battesme a me, ch'ogni mia colpa lave; In queste voci languide risuona Un non so che di flebile e soave Ch'al cor gli scende, ed ogni sdegno ammorza, Egli occhi a lagrimar gl'invoglia e sforza.
E quale lo parlavano e scriveano gli uomini d'affari. It is their substance, not their form, that gives Martyr's writings their value, though his facile style is not devoid of elegance, if measured by other than severely classical standards. Not as a man of letters, but as an historian does he enjoy the perennial honour to which in life he aspired.
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