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Fitzgerald. "She is such a superb creature!" "What was her character in Rome?" inquired a lady who had joined the group. "Her stay there was very short," answered Mrs. Fitzgerald. "Her manners were said to be unexceptionable. The gentlemen were quite vexed because she made herself so inaccessible." The conversation was interrupted by La Campaneo's voice, singing, "Ah, bello a me ritorno."
The second line seems to mean that they enlarged the King at the Italian hospital. With a banquet, I suppose. An English banquet has that effect. Further: Il ritorno dei Sovrani a Roma ROMA, 24, ore 22,50. I Sovrani e le Principessine Reali si attendono a Roma domani alle ore 15,51. Return of the sovereigns to Rome, you see.
This gave me so much ease, that I began to recover a little life, but so leisurely and by so small advances, that my first sentiments were much nearer the approaches of death than life: "Perche, dubbiosa ancor del suo ritorno, Non s'assicura attonita la mente."
But one must remember that nine months of hesitation had prepared Italian minds for the poet's theme the future of Italy. He linked the present crisis of choice with the heroic memories of that first making of a nation, "Oggi sta sulla patria un giorno di porpora; e questo e un ritorno per una nova dipartita, o gente d'Italia!"
She went to the piano, where the familiar music of Norma lay open before her, and from the depths of her saddened soul gushed forth, "Ah, bello a me Ritorno." The last tone passed sighingly away, and as her hands lingered on the keys, she murmured, "Will my heart pass into it there, before that crowd of strange faces, as it does here?"
The opera which beat his at the Court theatre is utterly forgotten; we know of the other because of the composer's name. Some years later, in 1784, he had another touch of the ways of men in the busy world, sent, perhaps, to reconcile him to his habitual seclusion. As far back as 1771 he had written his first oratorio which I am not ashamed to say I have never looked at Il Ritorno di Tobia.
At Venice, in 1881, she exhibited a graceful, well-executed work called "Caldanino della Nonna." "Di Ritorno dalla Chiesa" appeared at Milan in the same year. The latter, which represented a charming young girl coming out of church, prayer-book in hand, is full of sentiment. She sent to Turin, in 1884, "Popolana," which was much admired. Her portraits are said to be exceedingly life-like.
Often I do not quite understand, often some of the details escape me, but no matter, I get the idea. I will cut out a passage or two, then you see how limpid the language is: Il ritorno dei Beati d'Italia Elargizione del Re all' Ospedale italiano The first line means that the Italian sovereigns are coming back they have been to England.
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