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Updated: May 8, 2025
Thomas Morell, formerly Fellow of King's College, Cambridge. Morell has given a lively account of his collaboration with the great man, whom he did not fear to criticise. It is quite clear that Morell was more amused than offended, and the fact that they continued to collaborate up to the end of Handel's career as a composer shows that they must have remained on completely friendly terms.
They were as old as the world, but they were new to me, and I was amused and astonished. These bon-mots were followed by an account of how Gautier wrote his Sunday feuilleton, and how he and Balzac had once nearly come to blows. They had agreed to collaborate. Balzac was to contribute the scenario, Gautier the dialogue. One morning Balzac came with the scenario of the first act.
But now our bargain is made. Strike hands upon it. Henceforth we are collaborators as well as friends." Andrew extended his long, thin, feverish hand, and, as Henley held it for a moment, he started at the intense, vivid, abnormal personality its grasp seemed to reveal. To collaborate with Trenchard was to collaborate with a human volcano.
And yet he chose two men of austere and unimaginative style to collaborate with him; while his own style for purity, distinction, and profundity combined with simplicity, has never been excelled. Betsey was ailing, and her doors closed to society; the children romped on the third floor or on the Battery.
In one way or another, during the sessions of this Congress, the ends the real objectives sought in that message, have been substantially attained. The attitude of the Supreme Court towards constitutional questions is entirely changed. Its recent decisions are eloquent testimony of a willingness to collaborate with the two other branches of government to make democracy work.
He is a temperament impressionable to the sun, air, trees, children, women, men, cattle, landscapes, the ocean. Such swift, vivid notation of the fluid life about him is rare; it would be photographic were it not the personal memoranda of a selecting eye; it would be transitory impressionism were it not for a hand magical in its manipulation of pigments. Brain and brush collaborate with an instantaneity that does not perplex because the result is so convincing. We do not intend to quote that musty flower of rhetoric which was a favourite with our grandfathers. It was the fashion then to say that Nature capitalised took the brush from the hand of the painter, meaning some old duffer who saw varnish instead of clear colour, and painted the picture for him. Sorolla is receptive; he does not attempt to impose upon nature an arbitrary pattern, but he sees nature with his own eyes, modified by the thousand subtle experiences in which he has steeped his brain. He has the tact of omission very well developed. After years of labour he has achieved a personal vision. It is so completely his that to copy it would be to perpetrate a burlesque. He employs ploys the divisional taches of Monet, spots, cross-hatchings, big sabre-like strokes
The Guardian sees no objections to asking other architects to collaborate with the architect of the design “Azamat”. However it should be understood that the Guardian does not wish this collaboration or adaptation to result in the ultra-modern type of building which is the motif of the submissions which have been made, and which he has rejected.
In 1831 he invited Victor Ratier, editor of La Silhouette, to collaborate with him, specifying, however, "that it was more a question of establishing a literary porkshop than a reputation"; in 1832 he announced to his mother that he had "taken the step of writing two or three plays for stage production!" and he added, "This is the greatest misfortune which could happen to me; but necessity is stronger than I, and it is impossible to extricate myself in any other way.
Nevertheless, the effect of both of these turns of fortune was transient. The symphony was duly performed, and dismissed in the papers as promising, if over-ambitious; the only tangible result was a suggestion from the popular composer, who was a member of his club, that Lancelot should collaborate with him in a comic opera, for the production of which he had facilities.
"Let us have another; but Maisons-Lafitte is too near. We will go to Rouen the next time; or rather, I invite you all to a day fete in Paris, a game of polo, a lunch, a garden party, whatever you like. I will arrange the programme with Yamada and Jacquemin." "Willingly," responded the Japanese, with a low bow. "To collaborate with Monsieur Jacquemin will be very amusing."
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