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"But I know what the sweetmeats are for," he went on; "they are to stop my mouth while you scold me. Well, go on into the next room, and you will see I've done something to the picture since you saw it, though it's not finished yet. But I didn't promise, you know: I take care not to promise: "`Chi promette e non mantiene L'anima sua non va mai bene."
"Here Epicurus hath his fiery tomb, And with him all his followers, who maintain That soul and body share one common doom"; and is still better rendered by Dr. Parsons, "Here in their cemetery on this side, With his whole sect, is Epicurus pent, Who thought the spirit with its body died." "Suo cimitero da questa parte hanno Con Epieuro tutti i suoi seguaci, Che l'anima col corpo morta fanno."
Dante seems to have expressed these conditions perfectly in that passage of the Purgatorio where, after a triple vision which has made him forget his surroundings, he says "Quando l'anima mia tornò di fuori Alle cose che son fuor di lei vere, Io riconobbi i miei non falsi errori."
The stairway had the line of beauty, describing a pretty curve before its glassy steps led us to a narrow entry; it had also the brevity which is said to be the very soul, l'anima viva, of all true wit; but it was quite long and straight enough to serve Madame Fouchet as a stage for a prolonged monologue, enlivened with much affluence of gesture.
No sooner had he gone than she sat down to the piano, and began singing, song after song, as she had never sung before English, German, French, Italian songs of passion and of pain Beethoven's Kennst du das Land, and Spohr's Rose softly blooming, and Blumenthal's Old, Old Story, and then Il Segreto and O mio Fernando and Stride la vampa, and rising to heights she seldom attempted, Modi ab modi and Ab fors' e lui che l'anima; pouring forth without restraint all the long-pent yearing of her heart, all the madness and misery of a desire which might be expressed in no other way; until outside in the street the passers-by slackened their steps and lingered before the windows, wondering at that strange storm of melody.
Recall "Ah, fors' e lui che l'anima," with its passionate second section, "A quell' amor," and that most moving song of resignation, "Dite all' giovine."
I repeat, Padua is a freakish city. The Sub-Prefect writes madrigals in vain. Castracane, the goatherd, sends Silvestro sprawling, and wins the golden Ippolita for a willing bride. What are we to make of it? Deus nobis hæc otia fecit. "L'Anima semplicetta, che sa nulla, Salvo che, mossa da lieto fattore, Volentier torna a ciò che la trastulla." Purg. xvi. 88.
'E par che de la sua labbia si mova Uno spirto soave e pien d'amore, Chi va dicendo a l'anima: sospira! The first symptom of returning life was a quivering about the lips a little mute soundless attempt at speech; but the eyes were still closed; and the quivering sank into stillness. Then, feebly leaning on her arms for an instant to steady herself, Margaret gathered herself up, and rose.
[Footnote 29: We are here let into Dante's confessions. He owns to a little envy, but far more pride: "Gli occhi, diss' io, mi fieno ancor qui tolti, Ma picciol tempo; che poch' è l'offesa Fatta per esser con invidia volti. Troppa è più la paura ond' è sospesa L'anima mia del tormento di sotto Che gi
A pretty duet by Mme. de la Grange and Signor Brignoli may be noticed also in this act; and the final air, by Madame de la Grange, "Ah! fors' e lui che l'anima," contained a brilliant, florid close which brought down the house, and the curtain had to be reraised to admit of a repetition. The duet is well worked up and is rousing, passionate music.