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"If you cannot find a plank, set half a dozen men to prise up a couple from the floor." Presently a number of soldiers came running along down the street. "Here are two big houses," one shouted. "There ought to be plenty of plunder here." "Halt!" Terence shouted.
God beseeches because God has so settled the relations between Him and us, that that is what He has to do in order to get men to love Him. He cannot force them. He cannot prise open a man's heart with a crowbar, as it were, and force Himself inside. The door opens from within. 'Behold!
"An axe was used to prise it open. Did any one see an axe in the hands of James Pulley?" There was no reply for some time. At last, Ben Grimes, one of the men who had always been most hostile to Jim and me, said, "I thinks I seed Jim Pulley going along the deck with what looked mighty like the handle of an axe sticking out from under his jacket."
Leaning against the wall, within a yard of where I stood, were examples of various kinds of weapons, among them, spear-heads. Taking one of these spear-heads, with much difficulty I forced the point between the flap and the bureau. Using the leverage thus obtained, I attempted to prise it open. The flap held fast; the spear-head snapped in two.
Then I thought that if I could prise some stones from the old walls I might pile them up until I reached the edge of the hole with my hands, when it would be easy to draw myself up, though maybe not without taking off my armour.
Thrice did I hear it, like one waking out of a sleep, ere I grasped its import. "The Alliance! The Alliance!" But hardly had the name resounded with joy throughout the ship, when a hail of grape and canister tore through our sails from aft forward. "She rakes us! She rakes us!" And the French soldiers tumbled headlong down from the poop with a wail of "Les Anglais font prise!"
Hallam calls it "that famous statute, inadequately denominated the Confirmation of the Charters, because it added another pillar to our constitution, not less important than the Great Charter itself." "Hitherto the king's prerogative of levying money by name of tallage or prise, from his towns and tenants in demesne, had passed unquestioned.
The career of Hector Berlioz (1803-1869) was in striking contrast to that Meyerbeer. While Meyerbeer was earning the plaudits of crowded theatres throughout the length and breadth of Europe, Berlioz sat alone, brooding over the vast conceptions to which it taxed even his gigantic genius to give musical shape. Even now the balance has scarcely been restored. Though Meyerbeer's popularity is on the wane, the operas of Berlioz are still known for the most part only to students. Before the Berlioz cycle at Carlsruhe in 1893, 'La Prise de Troie' had never been performed on any stage, and though the French master's symphonic works now enjoy considerable popularity, his dramatic works are still looked at askance by managers. There is a reason for this other than the hardness of our hearts. Berlioz was essentially a symphonic writer. He had little patience with the conventions of the stage, and his attempts to blend the dramatic and symphonic elements, as in 'Les Troyens, can scarcely be termed a success. Yet much may be pardoned for the sake of the noble music which lies enshrined in his works. 'Benvenuto Cellini' and 'Béatrice et Bénédict, which were thought too advanced for the taste of their day, are now perhaps a trifle old-fashioned for our times. The first is a picturesque story of Rome in Carnival time. The interest centres in the casting of the sculptor's mighty Perseus, which wins him the hand of the fair Teresa. The Carnival scenes are gay and brilliant, but the form of the work belongs to a bygone age, and it is scarcely possible that a revival of it would meet with wide acceptance. 'Béatrice et Bénédict' is a graceful setting of Shakespeare's 'Much Ado about Nothing. It is a work of the utmost delicacy and refinement. Though humour is not absent from the score, the prevailing impression is one of romantic charm, passing even to melancholy. Very different is the double drama 'Les Troyens. Here Berlioz drew his inspiration directly from Gluck, and the result is a work of large simplicity and austere grandeur, which it is not too much to hope will some day take its place in the world's repertory side by side with the masterpieces of Wagner. The first part, 'La Prise de Troie, describes the manner in which the city of Priam fell into the hands of the Greeks. The drama is dominated by the form of the sad virgin Cassandra. In vain she warns her people of their doom. They persist in dragging up the wooden horse from the sea-beach, where it was left by the Greeks. The climax of the last act is terrific. Æneas, warned by the ghost of Hector of the approaching doom of Troy, escapes; but the rest of the Trojans fall victims to the swords of the Greeks in a scene of indescribable carnage and terror. Cassandra and the Trojan women, driven to take shelter in the temple of Cybele, slay themselves rather than fall into the hands of their captors. 'La Prise de Troie' is perhaps epic rather than dramatic, but as a whole it leaves an impression of severe and spacious grandeur, which can only be paralleled in the finest inspirations of Gluck. In the second division of the work, 'Les Troyens
John Randolph felt pretty certain that he knew the voice, but he hardly dared think it. "Where's the plate chest?" "Don't know: most likely in the pantry." John was now confident that he knew the speaker. "Hush!" whispered the elder man, fiercely, "this passage window 'll do: it won't take much to prise it open: you'll look after the women."
"But it is horrible horrible!" cried Miss Sally. "Mr. Hucks, lend me your stick, if you please. This window won't open." He passed his stick to her, supposing that she meant in some way to prise the window open. But she took it and deliberately smashed a pane two panes all the six panes with their coloured transparencies of the Prodigal Son.
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