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Updated: June 19, 2025
"That Grenoble may be witnessing the funeral of a foreign bully by to-morrow, Monsieur l'Etranger," said Garnache, showing his teeth in a pleasant smile. He became conscious in that moment of a pressure on his shoulder blade, but paid no heed to it, intent on watching the other's countenance. It expressed surprise a moment, then grew dark with anger. "Do you mean that for me, sir?" he growled.
From M. d'Indy we have had scholarly editions of Rameau, Destouches, and Salomon de Rossi. Even in the middle of rehearsals of L'Étranger at Brussels he was working at a reconstruction of Monteverde's Orfeo. He has published selections of folk-songs with critical notes, essays on Beethoven's predecessors, a history of Musical Composition, and debates and lectures.
After receiving and acknowledging these politenesses, the French captain takes his charge on board, and the first thing we afterwards hear of him is the determination "qu'il a su faire passer" into all his crew, to sink rather than yield up the body of the Emperor aux mains de l'etranger into the hands of the foreigner. My dear Monseigneur, is not this par trop fort?
I should like to see M. d'Indy give himself up freely, in spite of all theories, to this descriptive lyricism, in which he so excels; or I wish at least he would seek inspiration in a subject where both his religious beliefs and his imagination could find satisfaction: a subject such as one of the beautiful episodes of the Golden Legend, or the one which L'Étranger itself recalls the romantic voyage of the Magdalen in Provence.
There is nothing that M. d'Indy has made more his own than the art of painting landscapes in music. There is one page in Fervaal at the beginning of Act II which calls up misty mountain tops covered with pine forests; there is another page in L'Étranger where one sees strange lights glimmering on the sea while a storm is brooding.
"Dans le service de la Suisse Le militaire n'est pas riche." These passionate lines of a political exile: "A l'étranger un pacte impie Vendait mon sang, liait ma foi, Mais
The smouldering fire of discontent broke into fierce flame on August 25th, 1830, in the city of Brussels, during a performance of the opera "Muette de Portici," when the tenor was singing the inspired words of Massaniello: "Plutôt mourir que rester misérable, Pour un esclave est-il quelque danger? Tombe le joug qui nous accable, Et sous nos coups périsse l'étranger.
This was the clever company which, secure in New France from blasé critics, produced the comedies and tragedies of Molière, Corneille, Dumas, Halévy, Mme. de Genlis, as well as serving up adaptations like "Le Vieux Oncle Tom," "Le Prince de Denmarque," "Le Condamné," "L'étranger," also attacking with superb, delicious confidence the then popular operas of "La Grande Duchesse," "La Belle Hélène," and "Il Trovatore."
Jules Simon m'a promis une note qui me servirait a soutenir vos titres, et me permettrait de dire aux Francais de ma section, passablement ignorants de l'etranger, avec exactitude ce que vous avez fait. Meantime the Journal notes: December 7th. Meeting of the Liberal-Unionist party. On the 11th, dinner at home.
Balzac's special work was to provide a series of papers on political questions, entitled "La France et l'Etranger," papers which show his extraordinary versatility; and his helpers were to provide novels and poems, satire, drama, and social criticism; so that the scope of the periodical was a wide one.
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