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Updated: May 1, 2025
It is said that much of its charm comes from the composer's study of Ary Scheffer's picture of Mignon. Be this as it may, he has caught the inner sense of the poem, and expressed it in exquisite tones. The second act opens in Filina's boudoir, where she is at her toilet, arraying herself for her part as Titania in the forthcoming performance of the "Midsummer Night's Dream" at the castle.
Down's money, she says; ''tis mine, an' I want you to see to it. I said I would, but we'd made a plot to git some o' them soldiers' headstones that's provided by the government. 'Twas a shame it had been overlooked so long. 'No, says she; 'I'm goin' to pay for Eb's myself. An' I told her there wouldn't be no objection. Don't ary one o' you speak about it. 'Twouldn't be fair.
"He gave them," says M. Vitet, "home, atelier, material, sympathy, whatever they needed." Another writer, M. Anatole de la Lorge, said of him, while yet living, "Ary Scheffer has the rare good luck not to be exclusive. His heart can pity every suffering as fully as his pencil can portray it.
It was more like a dream than a reality, and for the first twenty minutes I was almost afraid to stir for fear I might wake up and find the vision gone. But when I began to look at him as a being of real flesh and blood, I found that Ary Scheffer's portrait had not deceived me.
Just forty days afterward a ragged, splashed and torn young ebony Samson lifted the flap of a Federal officer's tent upon one of the coast islands, stole silently in, and when he saw the officer's eyes fixed upon him. asked, "Want ary boy, Mahs'r?" The tone, as well as the form of speech, showed a new-comer.
The battle which had lasted no more than a minute had come to its end. There had been three kinds of fighting in that lively duel. Solomon's voice trembled when he cried out: "Ary man who says a word ag'in' the Great Father is goin' to git mussed up." He pushed his way through the crowd which had gathered around the wounded man. "Let me bind his arm," he said.
"Came up with a party." "Seen ary runaway nigger in the water?" "No," shouted Dan, promptly. The question filled him with hope, for it assured him the slave-hunters had not been near enough even to hear the report of the fowling-pieces when he fired them; or, at least, not near enough to discover who had fired them. "Didn't ye see him?" asked the pursuers again. "No." "Gossifus!
Chopin was delighted, for he was malicious in a dainty way. "What do you think of this?" he writes. "I, a dangerous seducteur!" The Paris letters to his parents were unluckily destroyed, as Karasowski relates, by Russian soldiers in Warsaw, September 19, 1863, and with them were burned his portrait by Ary Scheffer and his first piano. The loss of the letters is irremediable.
'Fo' God, men, there ain't been ary such a sight within a thousand miles of these here hills ever. An' doin's! My Lord, a'mighty!" The thin form of the native doubled up as he broke into a laugh that echoed and re-echoed through the little valley, ending in a wild, "Whoop-e-e-e. Say!
A part of the ascent he made on hands and knees. Several times he would have fallen except for the girl's support. But, at last, they gained the top, and stood in the garden. "That there is the house," said Judy, pointing. "But I don't reckon as how you-all kin git ary licker there."
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