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Updated: May 6, 2025
After saying that Chopin idealised the fugitive poesy inspired by fugitive apparitions like "La Fee aux Miettes," "Le Lutin d'Argail," &c., to such an extent as to render its fibres so thin and friable that they seemed no longer to belong to our nature, but to reveal to us the indiscreet confidences of the Undines, Titanias, Ariels, Queen Mabs, and Oberons, Liszt proceeds thus:
He finds the Clown and Fool upon the stage, he makes them the tools of his pleasantry, his satire, and even his pathos; he finds a fading rustic superstition, and shapes out of it ideal Pucks, Titanias, and Ariels, in whose existence statesmen and scholars believe forever.
He finds the Clown and Fool upon the stage, he makes them the tools of his pleasantry, his satire, and even his pathos; he finds a fading rustic superstition, and shapes out of it ideal Pucks, Titanias, and Ariels, in whose existence statesmen and scholars believe forever.
In the Allegory of Spring in the Academy of Florence, we again have the antique; goddesses and nymphs whose clinging garments the gentle Sandro Botticelli has assuredly studied from some old statue of Agrippina or Faustina; but what strange livid tints are there beneath those draperies, what eccentric gestures are those of the nymphs, what a green, ghostlike light illumines this garden of Venus Are these goddesses and nymphs immortal women such as the ancients conceived, or are they not rather fantastic fairies or nixen, Titanias and Undines, incorporeal daughters of dew and gossamer and mist?
These fugitive poems are so idealized, rendered so fragile and attenuated, that they scarcely seem to belong to human nature, but rather to a fairy world, unveiling the indiscreet confidences of Peris, of Titanias, of Ariels, of Queen Mabs, of the Genii of the air, of water, and of fire, like ourselves, subject to bitter disappointments, to invincible disgusts.
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