CATHLEEN. And if it be a sin, while faith's unbroken God cannot help but pardon. There is no soul But it's unlike all others in the world, Nor one but lifts a strangeness to God's love Till that's grown infinite, and therefore none Whose loss were less than irremediable Although it were the wickedest in the world.
CATHLEEN. Come, follow me, for the earth burns my feet Till I have changed my house to such a refuge That the old and ailing, and all weak of heart, May escape from beak and claw; all, all, shall come Till the walls burst and the roof fall on us. From this day out I have nothing of my own.
[MU] Un Ange ou presque [DVDRIP]
DOWNLOAD: https://tinurll.com/2vHEED
ALEEL. It may be that he is angelical; And, lady, he bids me call you from these woods. And you must bring but your old foster-mother, And some few serving men, and live in the hills, Among the sounds of music and the light Of waters, till the evil days are done. For here some terrible death is waiting you, Some unimagined evil, some great darkness That fable has not dreamt of, nor sun nor moon Scattered.
ALEEL (.prostrating himself before her) Let Him that made mankind, the angels and devils And death and plenty, mend what He has made, For when we labour in vain and eye still sees Heart breaks in vain.
CATHLEEN.. My thanks to God, to Mary and the angels, That I have money in my treasury, And can buy grain from those who have stored it up To prosper on the hunger of the poor. But you've been far and know the signs of things, When will this yellow vapour no more hang And creep about the fields, and this great heat Vanish away, and grass show its green shoots?
FIRST MERCHANT (reading in a book) John Maher, a man of substance, with dull mind, And quiet senses and unventurous heart. The angels think him safe." Two hundred crowns, All for a soul, a little breath of wind.
ALEEL. I shatter you in fragments, for the face That brimmed you up with beauty is no more: And die, dull heart, for she whose mournful words Made you a living spirit has passed away And left you but a ball of passionate dust. And you, proud earth and plumy sea, fade out! For you may hear no more her faltering feet, But are left lonely amid the clamorous war Of angels upon devils.
(The darkness is broken by a visionary light. The PEASANTS seem to be kneeling upon the rocky slope of a mountain, and vapour full of storm and ever-changing light is sweeping above them and behind them. Half in the light, haff in the shadow, stand armed angels. Their armour is old and worn, and their drawn swords dim and dinted. They stand as if upon the air in formation of battle and look downward with stern faces. The PEASANTS cast themselves on the ground.)
Or, `a cette `epoque, comme aujourd'hui, l'Irlande `etait pauvre, car le soleil avait `et`e rare, et des r`ecoltes presque nulles. Les indigents ne savaient `a quel sainte se vouer, et la mis`ere devenai de plus en plus terrible.
Le lendemain, quand on sut qu'il existait deux opulents `etrangers pr`ets `a prodiguer l'or, la foule assi`egea leur logis; mais les figures des gens qui en sortaient `etaient bien diverses. Les uns avaient la fiert`e dans le regard, les autres portaient la honte au front. Les deux trafiquants achetaient des `ames pour le d`emon. L'`ame d'un vieillard valait vingt pi`eces d'or, pas un penny de plus; car Satan avait eu le temps d'y former hypoth`eque. L'`ame d'une `pouse en valait cinquante quand elle `etait jolie, ou cent quand elle `etait laide. L'`Ame d'une jeune fille se payait des prix fous: les fleurs les plus belles et les plus pures sont les plus ch`eres.
Pendant ce temps, il existait dans la ville un ange de beaut`e, la comtesse Ketty O'Connor. Elle `etait l'idole du peuple, et la providence des indigents. D`es qu'elle eut appris que des m`ecr`eants profitaient de la mis`ere publique pour d`erober des coeurs `a Dieu, elle fit appeler son majordome.
46. "L'évidence de l'impuissance et l'évidence du génie, voilà les deux termes extrèmes qu'il faut concilier si l'on veut équitablement, si l'on prétend utilement apprécier Paul Cézanne. Le cas est-il si rare, ou n'est-ce pas celui de presque tous les grands inventeurs?" Charles Morice, "Paul Cézanne," Mercure de France, 15 February 1907, pp. 37.
Michel de Ghelderode was born in Brussels, Belgium in 1898.[2] Ghelderode's father, Henri-Louis Martens, was employed as a royal archivist, a line of work later to be pursued by young Ghelderode. The author's mother, née Jeanne-Marie Rans, was a former postulant for holy orders; even after bearing four children, of whom Ghelderode was the youngest, she retained evident traces of her erstwhile vocation that would strongly influence the mature Ghelderode's dramatic work: One of Mme Martens's remembered "spiritual tales," concerning a child mistakenly buried alive who remained strangely marked by death even after her rescue, inspired most of the plot and characters of Ghelderode's Mademoiselle Jaire (1934) written when the author was in his mid-thirties.
A number of Ghelderode's plays are based on the paintings by Breughel. His play The Blind Men (Les Aveugles, 1933) is derived from Brueghel's The Parable of the Blind, The Magpie on the Gallows (La Pie sur le Gibet, 1935) is derived from Breughel's The Merry Way to the Gallows, and The Strange Rider (Le Cavalier Bizarre, 1920) is not based on a particular painting, but, as the preface states, it is inspired by Breugel.[10]
1. Pange, lingua [CG 170], C barré, Ré M ; 2. Adoro te supplex [CG 171] C barré, Fa M (transcrit à 6 voix : n 60 des 60 Chants sacrés) ; 3. Veni Creator [CG 172a] C barré, Ut M ; 4. Sacris Solemnüs [CG 173] C barré, Fa m ; 5. Vexilla Regis [CG 174] C barré, Sol m ; 6. Verbum Supernum [CG 175] C barré, Ut M.
n 5. Noël [CG 184] (Jules Barbier, original allemand inédit : Gesang der Nonnen de Uhland) S. et C. solos, chœur de femmes à 3 voix avec accompagnement de piano, et orgue ad lib. (1843/1866) ; devenu Chantez Noël, en duo, en 1867 et, dans un arrangement réducteur, pour voix seule.
Suivons l'amour, portons sa chaîne [CG 506] (Philippe Quinault), arrangement, pour Pauline Viardot, de l'air de Mercure, avec chœur, du Triomphe de l'Amour de Lully, créé au Conservatoire le 9 mars 1851.
N. B. : Tous les autres duos (notamment la plupart de ceux contenus dans le recueil Quinze duos publié par Choudens en 1873) sont des arrangements réalisés sans le consentement de Gounod et dont les accompagnements ne sont pas de lui.
to make him equally useful to the State and to the Church. This he knew well to be impossible without serious work on his salvation, which is why he continuously pleaded God for his conversion. However, we have seen in him how dangerous it is to be involved in grand worldly engagements, for he could never fully execute the good movements that God instilled in him from time to time, until he died surprised by illness in 1651. 2ff7e9595c
Comments