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The first merely banishes the simple from the intuition of the composite; while the second drives it entirely out of nature. Space ought not to be called a compositum but a totum, for its parts are possible in the whole, and not the whole by means of the parts. It might perhaps be called a compositum ideale, but not a compositum reale. But this is of no importance.
His symphonic poems reveal how difficult it was for him to make his music follow the curve of his ideas. In "Die Ideale," for instance, for the sake of a conventional close, he departed entirely from the curve of the poem of Schiller which he was pretending to transmute. The variations in which he reproduced Lamartine's verse are stereotyped enough.
Bulwer's translation of SCHILLER'S "Ideal." Beschoeftigung, die nie ermattet Die langsam schafft, doch nie zerstoert, Die zu dem Bau der Ewigkeiten Zwar Sandkorn nur, fuer Sandkorn reicht, Doch von der grossen Schuld der Zeiten Minute, Tage, Jahre streicht. Die Ideale SHILLER. The strength of Chopin was not sufficient for the execution of his intention.
Le sentiment de la vie idéale, qui n'est autre que la vie normale telle que nous sommes appelés
A specially energetic fellow-worker on Eimer’s line is W. Haacke, a zoologist of Jena, author of “Gestaltung und Vererbung,” and “Die Schöpfung des Menschen und seiner Ideale.” In the first of these works Haacke combats, energetically and with much detail, Weismann’s “preformation theory,” and defends “epigenesis,” for which he endeavours to construct graphic diagrams, his aim being to make a foundation for the inheritance of acquired characters, definitely directed evolution, saltatory, symmetrical, and correlated variation.
'Non, said he simply; 'c'est une eglise ideale. The relievo was his favourite performance, and very justly so. The angels at the door, he owned, he would like to destroy and replace. 'Ils n'ont pas de vie, ils manquent de vie.
Nous sommes toutes les âmes que brûle le sainte flamme du désire! Ah, la parole idéale dont s'enivre mon corps tout entier! Dis encore ta chanson de délice! Ta chanson victorieuse, ta chanson de printemps! The duet wore on, enthralling in its closeness to common human life, with its touches of tears, its touches of laughter, its hints of tenderness and bursts of passion.
After 1870 he returned to Weimar, living there and in Budapest and in Rome. His principal orchestral works are: "Eine Faustsymphonie," "Dante," "Bergsymphonie," "Tasso," "Les Préludes," "Orpheus," "Mazeppa," "Hungaria," "Hunnenschlacht," "Die Ideale," "Two Episodes from Lenau's Faust," etc. His principal choral works are "Die Legende von der Heiligen Elisabeth" and "Christus."
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