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Updated: June 11, 2025
I worked as heartily as I ate, which is saying a great deal; 'tis true I was not as correct as diligent, for some days after, meeting M. Rolichon in the street, he informed me there were so many omissions, repetitions, and transpositions, in the parts I had copied, that they could not be performed.
The simile is a pretty one, and what suggested it to the writer is the detached colour in the picture; and the colours are detached because there is no atmosphere to bind them together; there are no attenuations, transpositions of tone in a word, none of those combinations of light and shade which make une atmosphere de tableau. And Mr.
Jan. 4. -Zuar Eldridge Jameson, died in Irasburg, Orleans County, Vt., aged fifty-one years. He was a well-known writer and lecturer on agricultural topics, whose initials, with transpositions, as well as other pseudonyms, are familiar to readers of the agricultural papers, particularly the New York Weekly Tribune, Albany, N. Y., Country Gentleman and Boston Cultivator.
He has taken the sea-romance of Smollett, Marryat, Melville, Dana, Clark Russell, Stevenson, Becke, Kipling, and for its well-worn situations has substituted not only many novel nuances, but invaded new territory, revealed obscure atavisms and the psychology lurking behind the mask of the savage, the transpositions of dark souls, and shown us a world of "kings, demagogues, priests, charlatans, dukes, giraffes, cabinet ministers, bricklayers, apostles, ants, scientists, Kaffirs, soldiers, sailors, elephants, lawyers, dandies, microbes, and constellations of a universe whose amazing spectacle is a moral end in itself."
Accordingly, they are very accommodating and complaisant towards vocalists, female and male, for whom they are glad to make matters comfortable; they arrange the tempo, introduce fermatas, ritardandos, accelerandos, transpositions, and, above all, "cuts," whenever and wherever a vocalist chooses to call for such. Whence indeed are they to derive the authority to resist this or that absurd demand?
First he tried the letters by transpositions, by which he triumphantly proved that it was derived from all the languages of the ancients; the same process showed that it possessed four thousand and two different significations; he next reasoned most ably and comprehensively for ten minutes, backwards and forwards, using no other word but this, applied in its various senses; after which, he incontrovertibly established that this important part of speech was so useful as to be useless, and he concluded by a proposition, in which the academy coincided by acclamation, that it should be forever and incontinently expunged from the Leaphigh vocabulary.
Born at Bordeaux in 1827, Lalanne died in 1886. Strangely enough, illustrator as he was, his transpositions into black and white of subjects by Troyon, Ruysdael, Crome, Constable, and many others are not so striking either in actual technique or individual grasp as his original pieces. Constable, for instance, is thin, diffuse, and without richness. Mezzotinted by the hands of such a man as Lucas, we recognise the real medium for translating the English painter. A master of the limpid line, Lalanne shows you a huddled bit of Amsterdam or a distant view of Bordeaux, or that delicious prospect taken on a spot somewhere below the Pont Saint-Michel, with the Pont Neuf and the Louvre in the background. He had a feeling for those formal gardens which have captured within their enclosure a moiety of nature's unstudied ease. The plate called Aux Environs de Paris reveals this. And what slightly melancholy tenderness there is in Le Canal
She read from printed notes before she knew their names, and found no trouble in making transpositions at will. At six she insisted on having regular lessons, which were begun by her mother, and continued for two years at home.
The bells of the Funeral March, the will o' wisp character of the last movement of the B flat minor Sonata, the dainty Butterfly Study in G flat, opus 25, the aeolian murmurs of the E flat Study, in opus 10, the tiny prancing silvery hoofs in the F major Study, opus 25, the flickering flame-like C major Study No. 7, opus 10, the spinning in the D flat Valse and the cyclonic rush of chromatic double notes in the E flat minor Scherzo these are not studied imitations but spontaneous transpositions to the ideal plane of primary, natural phenomena.
Their delightful garrulous language helps them to make Venetian life a long <i>conversazione</i>. This language, with its soft elisions, its odd transpositions, its kindly contempt for consonants and other disagreeables, has in it something peculiarly human and accommodating. If your gondolier had no other merit he would have the merit that he speaks Venetian.
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