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On entering the town, we were directed to the Bons Enfans, kept by a man of the name of Peyrol; which, contrary to the expectations we had naturally formed of an inn not much frequented, provided us with a breakfast, which even the editor of honest Blackwood would delight to describe in all its minutiæ, for it was quite Scotch in variety and excellence, and served up with great cleanliness. It may be well to remark, that as far as I could judge from the appearance of the rooms, a family might spend two or three days here without sacrificing their comfort to their curiosity, and would be as well off as at the Quatre Nations at Massa, or the Tre Maschere at Caffagiolo, the models of little country inns. Our host, we found, was entrusted with the privilege of showing the castle by the Count de Muy, in whose family he had been a servant; and he accordingly accompanied us in our visit thither. On gaining the level of the terrace, we found the wind, which had been imperceptible in the town, blowing with such force, as to account for Mad. de Sevigné's fears lest her daughter should be carried away from her "belle terrasse" by the force of the Bise. Persons travelling to the south of France for the sake of health, should be particularly on their guard against this violent and piercing wind, as well as that called the Mistral; both of which are occasionally prevalent in this country at most seasons of the year, and render warm clothing adviseable. I shall quote, as illustrative of the power with which the Bise blows, an extract from a letter by an intelligent traveller, written previous to the destruction of Château Grignan: "En faisant le tour du Château, je remarquais avec surprise que les vîtres du coté du nord étaient presque toutes brisées, tandis que celles des autres faces étaient entières. On me dit, que c'était la Bise qui les cassait; cela me parut incroyable; je parlai
Opus 13 is a "Sonnet," based, after the plan of Liszt, upon a lyric of Petrarch's, a beautiful translation from his "Gli occhi di ch'io parlai si caldamente." It is full of passion, and shows a fine variety in the handling of persistent repetition. Opus 18 couples two sonatinas.
"Gli occhi di ch' io parlai." Those eyes, 'neath which my passionate rapture rose, The arms, hands, feet, the beauty that erewhile Could my own soul from its own self beguile, And in a separate world of dreams enclose, The hair's bright tresses, full of golden glows, And the soft lightning of the angelic smile That changed this earth to some celestial isle, Are now but dust, poor dust, that nothing knows.
En route je m'étois lié avec quelques-uns de mes compagnons de caravane. Ceux ci, quand ils surent que j'étois logé chez un Franc, vinrent me trouver pour me demander de leur procurer du vin. Le vin leur est défendu par leur loi, et ils n'auroient osé en boire devant les leurs; mais ils espéroient le faire sans risque chez un Franc, et cependant ils revenoient de la Mecque. J'en parlai
In the very first line two Italian trisyllables, rivolsi and parlai, are given in English with literal fidelity by two monosyllables, turned and spake. In the fourth observe how, in a word-for-word rendering, the eleven Italian syllables become, without any forcing, eight English: "Ma dimmi: al tempo de' dolci sospiri:" "But tell me: in th' hour of sweet sighs."
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