Vietnam or Thailand ? Vote for the TOP Country of the Week !
Updated: June 6, 2025
The voices of the women are soft and feminine, and when singing with the men are pitched an octave higher than theirs. They have most of them so far good ears that, in whatever key a song is commenced by one of them, the rest will always join in perfect unison. After singing for ten minutes, the key had usually fallen a full semitone.
Some one has said that a criticism is negative if it searches for what a writer lacks instead of what he possesses. We should soon reach a zero if we only registered the absence of "necessary" traits in our poet. He is so unlike his contemporaries with a solitary exception that his curious genius seems composed of a bundle of negatives. But behind the mind of every great writer there marches a shadowy mob of phrases, which mimics his written words, and makes them untrue indices of his thoughts. These shadows are the unexpressed ideas of which the visible sentences are only eidolons; a cave filled with Platonic phantoms. The phrase of Laforgue has a timbre capable of infinite prolongations in the memory. It is not alone what he says, nor the manner, but his power of arousing overtones from his keyboard. His æsthetic mysticism is allied with a semi-brutal frankness. Feathers fallen from the wings of peri adorn the heads of equivocal persons. Cosmogonies jostle evil farceurs, and the silvery voices of children chant blasphemies. Laforgue could repeat with Arthur Rimbaud: "I accustomed myself to simple hallucinations: I saw, quite frankly, a mosque in place of a factory, a school of drums kept by the angels; post-chaises on the road to heaven, a drawing-room at the bottom of a lake; the title of a vaudeville raised up horrors before me. Then I explained my magical sophisms by the hallucination of words! I ended by finding something sacred in the disorder of my mind" [translation by Arthur Symons]. But while Laforgue with all his "spiritual dislocation" would not deny the "sacred" disorder, he saw life in too glacial a manner to admit that his were merely hallucinations. Rather, correspondences, he would say, for he was as much a disciple of Baudelaire and Gautier in his search for the hidden affinity of things as he was a lover of the antique splendours in Flaubert's Asiatic visions. He, too, dreamed of quintessentials, of the sheer power of golden vocables and the secret alchemy of art. He, too, promenaded his incertitudes, to use a self-revealing phrase of Chopin's. An aristocrat, he knew that in the country of the idiot the imbecile always will be king, and, "like many a one who turned away from life, he only turned away from the rabble, and cared not to share with them well and fire and fruit." His Kingdom of Green was consumed and became grey by the regard of his coldly measuring eye. For him modern man is an animal who bores himself. Laforgue is an essayist who is also a causeur. His abundance is never exuberance. Without sentiment or romance, nevertheless, he does not suggest ossification of the spirit. To dart a lance at mythomania is his delight, while preserving the impassibility of a Parnassian. His travesties of Hamlet, Lohengrin, Salomé, Pan, Perseus enchant, their plastic yet metallic prose denotes the unique artist; above all they are modern, they graze the hem of the contemporaneous. From the sublime to the arabesque is but a semitone in his antic mind. Undulating in his desire to escape the automatic, doubting even his own scepticism, Jules Laforgue is a Hamlet
In taking the glissandos shown near the middle of the top line, the upper tone is sung about half way between B-flat and B-natural. There is some abandon in the rhythm also. The group of six notes marked with an asterisk are trilled on the semitone interval. Dawak This song is doubtless the invention of the singer.
Crossjay's voice ran up and down a diatonic scale with here and there a query in semitone and a laugh on a ringing note. She wondered what he could have to talk of so incessantly, and imagined all the dialogue. He prattled of his yesterday, to-day, and to-morrow, which did not imply past and future, but his vivid present. She felt like one vainly trying to fly in hearing him; she felt old.
And she told him the story from behind her fan, with many glances, many cunning strokes of the narrator's art. The others had drawn away, for it was understood that Madame von Rosen was in favour with the Prince. None the less, however, did the Countess lower her voice at times to within a semitone of whispering; and the pair leaned together over the narrative.
Had Olympus conspired to ridicule our love, that we must exchange our parting vows to the public strains of "The Caledonian Hunt's Delight," in Gow's version and a semitone flat? Then she darted to the path, and gazed along it down the hill. "We must run, Anne. There are more coming!" We left the scattered relics of breakfast, and, taking hands, scurried along the path northwards.
It is an exception to the rule for imperceptible or inaudible change of position of the organs, that it should not be made suddenly. The scale proceeds from one semitone to another; each is different; each, as you go on, requires greater height, wherefore the position of the organs cannot remain the same for several different tones.
I had, having coming thus far on my homeward way, already more than half a mind to pursue it, when the band started to render the 'Merry Duchess' waltz, with reed instruments a semitone below the brass. This decided me, and I reached my door as the first raindrops fell. When I awoke next morning it was still raining, and raining hard.
The horse, on the other hand, is rarely heard, and, though having a piercing whinny which passes through every semitone of the scale, it is scarcely ever varied. The music of the insects has already been alluded to, and everyone will agree with Gilbert White that "not undelightful is the ceaseless hum, to him who musing walks at noon."
Had Miss Plinlimmon ever visited the Apennines? He plucked a few of the ferns growing in the spray and discoursed on them, comparing them with the common European polypody. He turned to music, and challenged his fair visitors to guess the note made by the falling water: it hummed on E natural, rising now and then by something less than a semitone.
Word Of The Day
Others Looking