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In many pictures Simeon raises his eyes to heaven in gratitude; but those painters who wished to express the presence of the Divinity in the person of Christ, made Simeon looking at the Child, and addressing him as "Lord." Ital. La Fuga in Egitto. Fr. La Fuite de la Sainte Famille en Egypte. Ger. Die Flucht nach Ægypten.
Cécile one day to conduct his L'Enfance du Christ which he had just written or rather La Fuite en Egypt which was the only part of the work that was in existence then. He composed the rest of it afterwards. I remember perfectly the performances which the great man directed. They were lively and spirited rather than careful, but somewhat slower than what Edouard Colonne has accustomed us to.
There is a treatise in Italian, 'Delle Passioni'; there are long dialogues, such as 'Le Philosophe et le Theologien', and 'Reve': 'Dieu-Moi'; there is the 'Songe d'un Quart d'Heure', divided into minutes; there is the very lengthy criticism of 'Bernardin de Saint-Pierre'; there is the 'Confutation d'une Censure indiscrate qu'on lit dans la Gazette de Iena, 19 Juin 1789'; with another large manuscript, unfortunately imperfect, first called 'L'Insulte', and then 'Placet au Public', dated 'Dux, this 2nd March, 1790, referring to the same criticism on the 'Icosameron' and the 'Fuite des Prisons.
The Conservatoire, which was formerly more hospitable, rather reluctantly performed a portion of L'Enfance du Christ; but it gave young composers no encouragement. There he had performed Mendelssohn's Symphonie Italienne, the overtures to Tannhäuser and Manfred, Berlioz's Fuite en Égypte, and Gounod's and Bizet's early, works. But lack of money cut short his efforts. Pasdeloup took up the work.
"Un jour ayant appris que les Anglais en fuite Se cachaient dans un bois redoutant la poursuite, Tu laissas sur la plage aux soldats affames, Par la peur affoles, en haillons, desarmes, Des vivres abondantes, des habits et des armes; Tu t'eloignas apres pour calmer leurs alarmes, Et quand on s'etonnait: 'Sachez qu' un ennemi Vaincu n'a rien a craindre, et devient un ami."
There is a treatise in Italian, 'Delle Passioni'; there are long dialogues, such as 'Le Philosophe et le Theologien', and 'Reve': 'Dieu-Moi'; there is the 'Songe d'un Quart d'Heure', divided into minutes; there is the very lengthy criticism of 'Bernardin de Saint-Pierre'; there is the 'Confutation d'une Censure indiscrate qu'on lit dans la Gazette de Iena, 19 Juin 1789'; with another large manuscript, unfortunately imperfect, first called 'L'Insulte', and then 'Placet au Public', dated 'Dux, this 2nd March, 1790, referring to the same criticism on the 'Icosameron' and the 'Fuite des Prisons.
An enemy of Frontenac writes, "Ce n'est pas sa presence qui fit prendre la fuite aux Anglois, mais le grand nombre de Francois auxquels ils virent bien que celuy de leurs guerriers n'etoit pas capable de faire tete." Remarques sur l'Oraison Funebre de feu M. de Frontenac. The following is a literal copy of a specimen of this paper money, which varied in value from two shillings to ten pounds:
In 1793, Teresa de Quency wished to return to Venice at which time Zaguri wrote Casanova: "The Bassani has received letters from her husband which tell her nothing more than that he is alive." Casanova passed the months of May, June and July 1788 at Prague, supervising the printing of the Histoire de ma fuite.
La premiere entraina la seconde dans un mouvement retrograde; de plus elle y apporta assez de confusion pour que ces deux lignes reunies crussent n'avoir d'autre parti a prendre que celui de la fuite," etc. Memoires, vol. i. p. 257. There can be no question as to the general soundness of this criticism, and we should not have continued the movement described if we had been attacked in force.
L'Histoire de ma Fuite des Prisons de la Republique de Venise, qu'on appelle les Plombs', which is the first draft of the most famous part of the Memoirs, was published at Leipzig in 1788; and, having read it in the Marcian Library at Venice, I am not surprised to learn from this indignant document that it was printed 'under the care of a young Swiss, who had the talent to commit a hundred faults of orthography.
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