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Je crois rêver sous un ciel de féerie, l'âme encore grisée de ton premier baiser! And M. Cartel, lifting his head, broke in with the single electric cry of Julian the lover: 'Louise! Then, as if answering to the personal note, Jacqueline melted into Louise's sweet admission of absolute surrender: 'Quelle belle vie!
"L'Esclave de Camoens" appeared in Paris in 1843; "Stradella," rewritten as an opera, in Hamburg ; "L'Âme en peine," in Paris ; "Martha," in Vienna . The works of his later period, which never equalled his earlier ones in popularity, were "Die Grossfürstin" ; "Indra" ; "Rubezahl" ; "Hilda" ; "Der Müller von Meran" ; "La Veuve Grapin" ; "L'Ombre" ; "Naïda" ; "Il Flor d'Harlem" ; and "Enchanteresse" . Of these later works, "L'Ombre" was the most successful, and was received with favor in France, Italy, Spain, and England, in which latter country it was performed under the title of "The Phantom."
Rossini asked me to recite some poetry, and I consented willingly, glad and proud to be of some little importance. I chose Casimir Delavigne's poem, "L'Ame du Purgatoire." "That should be spoken with music as an accompaniment," exclaimed Rossini when I came to an end. Every one approved this idea, and Walewski said; "Mademoiselle will begin again, and you could improvise, cher maitre."
"Le Style," as Rolland remarks, "c'est l'ame." It was so in Mr. Davis's case. He had the rare faculty of stirring by a phrase the imaginations of men, of including in a phrase a picture, an event a cataclysm. Such a phrase was that in which he described the entry of German hosts into Brussels. He was not a man, when enlisted in a cause, to count the cost to himself.
Besides the "Discourse on Method" , with the treatises on dioptrics, meteors, and geometry, his principal works were his "Meditations" addressed to the Deans of the Faculty of Theology in the University of Paris; the "Principia Philosophiae," and the "Traité des Passions de L'Ame," in which, he handled morals.
And so I think that our whole past is there, subconsciousI mean present to us in such a way that our consciousness, to become aware of it, need not go outside itself nor add anything foreign: to perceive clearly all that it contains, or rather all that it is, it has only to put aside an obstacle, to lift a veil." * * L'Energie Spirituelle "L'Ame et le Corps," pages 59 and 60.
[Footnote 1: 'Assurément la turquoise a une âme plus intelligente que l'âme de l'homme. Mais nous ne pouvons rien establir de certain touchant la presence des Anges dans les pierres precieuses. Mon jugement seroit plustot que le mauvais esprit, qui se transforme en Ange de lumiere se loge dans les pierres precieuses,
Did you ever see the first poems of Madame la Duchesse d'Ivry, Les Cris de l'Ame? She used to read them to her very intimate friends, in white, with her hair a good deal down her back. They had some success. Dubufe having painted her as a Duchess, Scheffer depicted her as a Muse.
In the words of Corneille, "l'amour ne doit etre que l'ornement, et non l'ame de nos pieces," and this is how it is generally employed by the best dramatists. The love of Benedict and Beatrice, for example, is simply a setting for their witty talk and repartee. On the Spanish stage love is often a setting for entertaining intrigue, as in Lope de Vega's El Perro del Hortelano.
For an engraving of it see our chapter on Chaldæan sculpture. See an article published by M. J. HALÉVY in the Revue archéologique, vol. xliv. p. 44, under the title: L'Immortalité de l'Âme chez les Peuples sémitiques. PLACE, Ninive, vol. ii. p. 184. LOFTUS, Travels and Researches, pp. 198, 199.
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