La ressuscitée (Encres Noires) (French Edition)


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Table of contents

Absence of the Article pp. Plan : a. Historical Background 1. The development of punctuation in the West 2. Punctuation in Hebrew 2a. The Jewish Academies - Mishna and Talmud 2b. From Talmud to Masoretic Text b. Hebrew Orthography and the Punctuation System 1. Pre-Masoretic signs 2. Masoretic points and accents 2a. Vocalisation: Hebrew Vowels 2b. Other non-punctuating Masoretic signs 2c. Masoretic punctuation signs. Et sur Amazon. Metzger quelques coquilles dans le fichier pdf. Wikipedia - cf. Metzger, The Text of the NT Voyez par ex les p.

Oui sans doute. Voir aussi les figures des p. Burnouf sur Gallica. XI, p. De nombreux exemples originaux. Gow et S. Amphoux trad. Nous ne le savons pas. C'est elle que C. Et de citer Courcelle : la cause principale de la disparition, au cours du premier Moyen Age, de tant d'ouvrages grecs ou latins. Paul, dans sa lettre aux Colossiens Col. Ici une autre traduction anglaise par M. Paul's First Epistle to Timothy , H. Russel soit pour les deux groupes une figure historique importante. The Messiah Jesus , tr. Did Jesus Live B. London: Theosophical Publishing Society, Exodus , folio 32 verso, page William Hendriksen and Dr.

Simon Kistemaker , 12 vol. Paul to the Galatians. Paul Epistle to the Philippians. Paul Epistles to the Colossians and to Philemon. Liddell et R. Reed : extrait de l' Anglican Theological Review vol. Les arguments sont assez convaincants. Tableaux des paradigmes. PDF, 12Mo, 62p. PDF, Ko, 22p. Points de grammaire: noms, adjectifs, nombre ordinaux et cardinaux. On reste sur sa faim, mais il faut saluer l'initiative. Petit cite les versets in extenso, et, bien que ses affirmations ne soient pas toutes d'une parfaite exactitude par ex.

Je ne suis personnellement pas croyant au sens classique du terme. Merci JPP! Une ironie acerbe qui vise souvent juste John , R. Charles T. Thesis de Hoover parue dans la Harvard Theology Review. Paul the Traveler and the Roman Citizen , W. The Meaning of Philippians Voir le Tome I en mode texte sur le site excellent de Philippe Remacle.

Sources primaires :. On apprend ainsi qui enseigna la sorcellerie et les sorts aux humains, mais aussi la botanique et l'astronomie. On regrette seulement la lenteur du serveur. Faire une rechercherche sur ce site : ex. Wallace, Burton, Wescott, Philippians, Babel, etc. PDF, 27Mo. Chapman et G. Shogren, New Testament Greek Insert : 75p.

Meggison : p. Edwards , 2nd edition. Archer et G. Dana et Julius R. Mantey p. Un classique dense et pertinent. Wanamaker, New Testament Studies , vol. Studies in Honour of John William Wevers on his sixty-fifth birthday ed. Albert Pietersma and Claude Cox. Benben Publications: Mississauga, North et A. Consultable en ligne sur LaParola ou Zhubert.

Document excellent! PDF, p, 14Mo. Sir William Robertson Nicoll C. Un peu comme les Word Pictures d'A. Livre par livre. Migne : les 2 vol. Burto n. The Four Gospels.

London: MacMillian and Co. Prepared by Charles F. Hudson under the direction of Horace L. Revised and completed by Ezra Abbot Autre manuel de critique textuelle Insight the Scriptures. Attention : PDF, Mo - p. A The Clarendon Press, Oxford, Bullinger, D. Figures of Speech used in the Bible, explained and illustrated. Geden, R. Ginsburg, LL. Ce document sera utile surtout au personne ne connaissant pas le grec, en vue d'illustrer leurs sermons ou sujets par le terme grec issu de l'original.

T Robinson, Redating the New Testament. Morfill trad. Menzies , Tholuck trad. Si vous savez comment vous procurer le volume IV, faites-moi signe!!! Lagrange , Le Messianisme chez les Juifs av. C - ap. JC Les oracles sibyllins en grec J. Geffcken, Die Oracula sibyllina , Leipzig, J. Hinrichs, Rutherford H. Swift, Robert C.

Ralph P. Martin, An Early Christian Confession. Philippians II. London: The Tyndale Press, Moule, "Further Reflections on Philippians ," W. He learnt that Verlaine and Mallarme were the proper objects of worship for an up-to-date poet. Any one who has listened to a set of young writers tearing down the generation which has preceded them, showing up all the faults it never knew it had, and sneering at the good points it undoubtedly has, can reproduce these evenings perfectly. But Samain was a young provincial. All this talk disturbed him.

This familiar scoffing 64 Six French Poets at names he considered the greatest in the world unsettled him. What should he do? Whom should he follow? For Samain must follow, he was as incapable of leadership as a man could well be. It is easy to be an iconoclast in French poetry. The classic metres are so exceedingly prescribed and confined that the least little change lands one in nonconformity. But for us, living more than thirty years after the period I am speaking of, for us who are accustomed to the innovations of the vers libristes, Samain's tentative efforts at modernity of form have become almost invisible.

We can find them if we hunt, but to the naked perception they are lost in the general effect of conformity to metrical rules. Yet, to Samain, his not always putting the caesura in the middle of the line, or failing to alternate mas- culine and feminine endings, or occasionally rhyming plurals with singulars all unalterable rules of French classic metre , must have seemed violent innovations indeed.

The meetings at Le Chat Noir did not only affect Samain's technical habit, they affected his ideas about everything, even, and most, his religion. Brought up a Catholic, he had hitherto never doubted his faith ; now it tumbled off him like a shrivelled leaf. Scepticism, a state of mind pecul- Albert Samain 65 iarly unsuited to his temperament, swept over him. The realization that he had lost the support of religion, that its consolations could no longer com- fort him, was agony. The idea, the resultant void, preoccupied him.

He could no longer write, he could only worry and mourn. This was particularly unfortunate as he was at the moment composing the poems which afterwards made up Au Jardin de V Infante, his first volume, which was not published until six years later. The sapping of his vitality by doubt naturally lasted longer with a man of Samain's gentle and resigned disposition than it does with people of bolder characters. In his state of mind, the hilarious and not over- refined pleasures of the literary cabarets were most distasteful.

He was too straightforward and simple himself not to see through the poses and childish debauches of his coterie. He withdrew from it, and retired once more within himself. But he was lonely, bitterly lonely. His brother Paul had been called to his military service, and once more he and his mother lived alone. His modest income of francs was not sufficient to enable him to think of marriage while he still had his mother to support. Whether Samain ever had a definite love story is not known. It seems hardly possible for him to have escaped such a usual happening ; but, at any rate, whether it was a particular woman whom he gave up, or whether he merely resigned himself to bachelorhood in the ab- 66 Six French Poets stract, certain it is that Samain felt his life bor- dered and arranged, and that he looked forward to no bright happening to change it.

Samain adored him and was proud of him, but from his reticence about his work at home, she does not appear to have been fitted, either by edu- cation or natural ability, to be much of a help to him in it. Only seven hours a day at the Hotel de Ville, and the rest of the time his own! That ' ' rest of the time," which was to have been filled with the work he could not do. It hung heavy on his hands, and to distract himself he took to taking long walks about Paris.

He would stroll along the Seine, turn- ing over the leaves of the books in the bouquiniste 1 s boxes on the parapets of the quais, amusing himself with the old engravings in the ten centimes boxes, breathing in the sharp scent of the river and the perfume of old, passed centuries ; he would wander in the once fashionable quarters of the town, now fallen from grace, and imagine the days when they were full of sedan chairs and elegant ladies.

His love for the faded, the graceful, vanished past, grew and solaced him. How many of his poems seem to be merely efforts to reproduce it, and so dwell in it for a few minutes! Side by side with these imaginative pleasures were others. He began to see nature, real nature, as it is even to-day.

His walks in the suburbs gave him Albert Samain 67 many a picture which he turned to account later in Aux Flancs du Vase. The splendid, differing sun- sets gave him infinite pleasure ; sometimes he would get into one of the bateaux mouches which go up and down the river, and watch the yellows and reds of the sunset repeat themselves in the water. He had none of that modern spirit which enables one to see beauties in tram-cars and smoking chimneys, so he eliminated them from his thought.

In love with beauty as he conceived it, he took the changing colours which all sorts of weather threw over Paris, and, eternal as they are, lit his pictures of other centuries with them. He speaks of "la suavite supreme de Paris d'Automne;" the frail gold of Autumn always pleased him. He describes dark gardens where the fountains "font un bruit maigre, frileux et comme desole dans l'abandon du crepus- cule.

Flowers were the only luxury he permitted 68 Six French Poets himself. Except and this is the great "except" his imagination. His room was as bare as a cell in a monastery, neither painting nor engraving hung on the walls. But listen to the room he would have had if — evoking it to amuse himself on an Autumn even- ing : "My room. Hung with velvet of steel- coloured grey, with blue lights in it. The rose- tinted ceiling fades off into mauve and has a large decorative design — Renaissance — in old silver, embossed at the corners. Hangings hide the door. No windows ; the room only being used by artificial light.

Near the floor, forming a base-board, a band of old silver openwork appliqued on the same velvet as the hangings, a flower design, with knots of pink pearl tassels at intervals. A carpet with a silver nap ; against one side of the wall, a divan of steel-grey velvet. No movable furniture. In one corner, directly under the bosses of the ceiling, an ebony table with silver lion's claws for feet ; the table is covered with a cloth of steel-grey velvet, with a great silver tulip with rose-coloured leaves embroidered in the corner.

An Etruscan armchair, made entirely of ebony, with silver nails. Negli- gently thrown over the armchair to soften the sharpness of the angles and the hardness of the wood, a grey bear skin. A lamp of old silver, mas- sive and slender, with a long neck of a clear shape, and without ornament. Shade of faded moss-rose Albert Samain 69 colour. Blotting pad of steel-grey morocco, with a heraldic device ; a penholder of old gold. Books : Corbiere, Mallarme, Fleurs du Mai, in small folios, bound in white pigskin and tied with cords of rose- colour and silver, edges of old gold, titles printed in Roman letters, crude red on the top and on the left side.

A fireplace with a historical plaque over it — Renaissance, and andirons of wrought steel termi- nating in couched chimeras. Three sides of the room are empty. In the corner opposite the table, on the wall, two metres from the ground, a console covered with steel-grey velvet supported by a Renais- sance chimera in iron. Upon the console, a great horn of crystal, very tapering, in which are two roses, one rose a sulphur yellow, one wine- coloured.


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In an alcove hidden by a curtain is a deep niche, bathed in the half-light of a gold altar lamp hanging by a little chain. The globe of the lamp is made of pieces of many-coloured glass cut in facets so that they shine like great stones : ruby, sapphire, emerald. In the niche, which is hung with crimson velvet, on a column with a Doric capital, stands the Young Faun of Praxiteles.

Yet Samain never complained of the ugliness and meagreness of actual life. He only played his games on windy nights in his bare room. It would be unjust to Samain to represent him as passing all his evenings wrapped in sugary 70 Six French Poets dreams. He studied science, history, philosophy. It is a curious fact, that he was one of the first men in France to recognize the genius of Nietzsche. In compensation for the many bitternesses of his life, beginning in came the happiness of two friendships. Samain made the acquaintance, and quickly became the intimate friend, of Paul Morisse and Raymond Bonheur.

Paul Morisse was a con- stant traveller, and with him Samain made his first considerable journey. The two friends went to Germany. They saw the Rhine, Bingen, Mayence, etc. Samain was charmed with all he saw. He possessed the gift of wonder ; an inestimable pos- session, by the way. Unfortunately it was hard to find money for these excursions.

Samain called the lack of money "the defective side" of his life. When the French Academy crowned his first book, he gave himself the present of a month at Lake Annecy. So at last we reach his first book, privately printed in , when the poet had passed his thirty-fifth birthday.

At this time the Mercure de France had just come into existence, and Samain was one of its founders. It was in the pages of the Mercure that most of- his poems appeared. Samain never seems to have seriously considered collecting them into a book. Over-diffident and self -critical, he worked at them, Albert Samain 71 changed them, polished them.

At rare intervals one was printed. Samain was in love with perfection, and very little that he did ever seemed to him worthy to leave his hands. This excessive scrupulousness works both ways. A poem so treated gains in beauty, but frequently loses in vitality. There is great danger of its becoming a thing of mummied splendour. That Samain's poems absolutely lost vigour by this polishing, I cannot fairly say. The poems I have seen in several states do seem to have gained technically in their final one, and to have parted with practically none of their original elan.

Elan is too strong a word. Samain's poems are never dashing with life. Let us say rather, not that his poems lost by his treatment of them, but that the kind of man who could so treat them was of a slightly depressed, unvital temper. How consider- able a course of discipline he put them through can be imagined when I mention that, in the four ver- sions extant of a poem of twenty-eight lines, only four which were in the first version appear in the last. But to return to that first volume. At the in- stance of M. Bonheur, Samain consented to print it. Not publish it, observe.

It was issued in a charm- ing, privately printed edition. This was in October, And in the Journal for the 15th of March, , appeared a review of it by no less a person than Francois Coppee. How the volume came into 72 Six French Poets Coppee's hands I do not know, but he instantly recognized its value and said so frankly. Five months of reviewing and praise in the young reviews had not been able to do for Samain what the hun- dred lines from Francois Coppee did at once.

It was celebrity, almost fame. The little, privately printed edition was quickly exhausted. Another was called for, and at last the book, Au Jar din de l' Infante, was published. Still Samain was diffident, and when a third edition was needed, he hesitated again ; but the third edition came out three years after the first.

The edition I have is marked "twenty- fifth," so it appears that Samain was un- necessarily timid. The book was given a prize by the French Academy, and Samain was one of the poets of the hour. There was nothing very new in Au Jar din de l' 'Infante, it is true. The metre was the classic alexandrine, for the most part, varied by lighter, gayer rhythms equally well sanctioned. But the book was full of the shy, delicate personality of the poet. Here were his sumptuous imaginings, and the haunting sadness which never quite left him. Here was his tenderness for lovely, fragile things ; his preoccupation with the past.

Finally here was his love for English — the volume bore this motto from Edgar Allan Poe : Was it not Fate, that, on this July midnight — Was it not Fate whose name is also Sorrow Albert Samain 73 That bade me pause before that garden-gate To breathe the incense of those slumbering roses? The following poem is printed in italics as a sort of dedication to the book : Mon ame est une infante en robe de parade, Dont l'exil se reflete, eternel et royal, Aux grands miroirs deserts d'un vieil Escurial, Ainsi qu'une galere oubliee en la rade. Aux pieds de son fauteuil, allonges noblement, Deux levriers d'Ecosse aux yeux melancoliques Chassent, quand il lui plait, les betes symboliques Dans la foret du Reve et de 1'Enchantement.

Le pare alentour d'elle etend ses frondaisons, Ses marbres, ses bassins, ses rampes a balustres ; Et, grave, elle s'enivre a ces songes illustres Que recelent pour nous les nobles horizons. Elle est la resignee, et douce, et sans surprise, Sachant trop pour lutter comme tout est fatal, Et se sent ant, malgre quelque dedain natal, Sensible a la pitie comme l'onde a la brise.

Des soirs trop lourds de pourpre ou sa fierte soupire, Les portraits de Van Dyck aux beaux doigts longs et purs, Pales en velours noir sur l'or vieilli des murs, En leurs grands airs defunts la font rever d'empire. Les vieux mirages d'or ont dissipe son deuil, Et dans les visions ou son ennui s'echappe, Soudain — gloire ou soleil — un rayon qui la frappe Allume en elle tous les rubis de l'orgueil. Mais d'un sourire triste elle apaise ces fievres ; Et, redoutant la foule aux tumultes de fer, Elle ecoute la vie — au loin — comme la mer.

Et le secret se fait plus profond sur ses levres. Rien n'emeut d'un frisson l'eau pale de ses yeux, Ou s'est assis l'Esprit voile des Villes mortes ; Et par les salles, ou sans bruit tournent les portes, Elle va, s'enchantant de mots mysterieux. L'eau vaine des jets d'eau la-bas tombe en cascade, Et, pale a la croisee, une tulipe aux doigts, Elle est la, reflet ee aux miroirs d'autrefois, Ainsi qu'une galere oubliee en la rade. Mon Ame est une infante en robe de parade. Albert Samain 75 Who, after reading that poem, could approach the book in other than a sympathetic mood?

Is it by chance that he figures his soul under the guise of a Spanish Infanta ; or does he feel in him- self something exotic, un-French, something which is descended to him from those possible Spanish ancestors? This poem seems almost a complete epitome of Samain's soul. An old, magnificent splendour is here, all about his seated, quiescent Infanta, " im- mobile, une tulipe aux doigts. Yes, Samain has paraphrased himself in this poem — the haughty, noble, anachronistic self, hidden under the appearance of an insignificant government employee.

This introduction is followed by a second motto from Mallarme : " D'une essence ravie aux vieillesses des roses," and then we come to the book itself. J6 Six French Poets Des roses! Des roses encor! Je les adore a la souff ranee. Elles ont la sombre attirance Des choses qui donnent la mort. Le pare est sombre comme un gouffre. Et e'est dans mon cceur orageux Comme un mal de douceur qui souffre.

These poems are as fragile as the golden crystals he speaks of. What do they give us? It is impos- sible to say. A nuance, a colour, a vague magnifi- cence. Ecoute la symphonie ; Rien n'est doux comme une agonie Dans la musique indefmie Qu'exhale un lointain vaporeux; D'une langueur la nuit s'enivre, Et notre cceur qu'elle delivre Du monotone effort de vivre Se meurt d'un trepas langoureux. Albert S amain 77 Glissons entre le ciel et l'onde, Glissons sous la lune profonde ; Toute mon ame, loin du monde, S'est refugiee en tes yeux, Et je regarde tes prunelles Se pamer sous les chanterelles, Comme deux fleurs surnaturelles Sous un rayon melodieux.

L'abat-jour transparent de rose s'illumine. La vitre est noire sous l'averse monotone. La ville est loin. Plus rien qu'un bruit sourd de voitures Qui meurt, melancolique, aux plis lourds des tentures. Formons des reves fins sur des miniatures. Les fleurs revent, l'amour se parfume aux corolles.

Tiede, la lune monte au firmament pali. Ce soir, fete a Bergame au palais Lanzoli! Les couples enlaces descendent des gondoles. Le bal s'ouvre, etoile de roses girandoles. Flutes et cordes, l'orchestre est conduit par Lulli. Les madrigaux parmi les robes essaimees Offrent, la levre en cceur, leurs fadeurs sublimees ; Et, sur le glacis d'or des parquets transparents, Les caillettes Regence, exquisement vieillotes, Detaillent la langueur savante des gavottes Au rhythme parfume des eventails mourants.

Notice how deftly the poet places his picture by speaking of Bergamo and the Lanzoli Palace. And bringing in Lulli as a rhyme, is a delightful thing. Not Verlaine him- self has done a more beautiful eighteenth century picture, nor one which sings more gracefully.

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Est-ce a Venise, a Florence? Est-ce au pays d'Esperance? Est-ce dans l'lle-de-France? Qui sait? Viens, tu verras des bergeres, Des marquises bocageres, Des moutons blancs d'etageres, Et puis Des oiseaux et des oiselles, Des Lindors et des Angeles, Et des roses aux margelles Des puits. Les Iris, et les Estelles En chaperons de dentell R6vent pres des cascatelles En pleurs, Et fermant leurs grandes ailes Les papillons epris d'elles En deviennent infideles Aux fleurs. Unis d'une double etreinte Les Amants rodent, sans crainte, Aux detours du labyrinthe Secret. Sur le jardin diaphane Un demi-silence plane, Ou toute rumeur profane Mourrait.

Avec des amours sans fraude, Des yeux d'ambre et d'emeraude Et de lents propos que brode L'aveu. Albert Samain 81 Le soir tombe. Des cygnes voguent par troupes. On goute sur l'herbe en groupes ; Le dessert choque les coupes D'or fin. Les assiettes sont de Sevres ; Et les madrigaux, si mievres, Caramelisent les levres Sans fin. L'apres-midi qui renie L'ivresse du jour bannie Expire en une infinie Langueur. Le toit des chaumieres fume, Et dans le ciel qui s'embrume L'argent des astres s'allume, Songeur. Les amants disent leurs flammes, Les yeux fideles des femmes Sont si purs qu'on voit leurs ames Au fond ; 82 Six French Poets Et, deux a deux, angeliques, Les Baisers melancoliques Au bleu pays des reliques S'en vont.

Au son des musiques lentes, Les Amoureuses dolentes Ralentissent, nonchalantes, Le pas. Du ciel flotte sur la terre ; Et, dans le soir solitaire, L'angelus tinte a Cythere, La-bas. The whole volume is full of delicate, almost arti- ficial, light and shade ; bells ring over still lakes, roses in cut glass vases mirror themselves in the marble tops of tables, silken skirts brush over polished floors, but — in the distance, everything is in the distance.

The poet himself, kind, patient, sad, is always by our side assuring us that it is only his soul, ''en robe de parade. No one understands better than Samain how to give the emotion, the grandeur, or the tragedy, of an epoch, in the confines of a sonnet. Jadis elle regnait ; sur ses murailles fortes La Victoire etendait ses deux ailes de fer. Tous les peuples d'Asie assiegeaient ses cent portes ; Et ses grands escaliers descendaient vers la mer.

Vide a present, et pour jamais silencieuse, Pierre a pierre, elle meurt, sous la lune pieuse, Aupres de son vieux fleuve ainsi qu'elle 6puis6 Et, seul, un elephant de bronze, en ces desastres, Droit encore au sommet d'un portique brise, Leve tragiquement sa trompe vers les astres. Or this, which seems, in its fourteen lines, to give both sides of Napoleon's character so that no more need be said.

Napoleon, sending to Corsica for his old nurse, so that she might be present at his Coro- nation, is one of those strange beauties which start up along his career. Mon fils! Sur tous les fronts baisses un seul frisson courut, Comme le battement soudain d'une aile immense ; Et Ton n'entendit plus, 6 Cesar triomphant, Dans la nef ou planait un auguste silence, Qu'une vieille a genoux qui pleurait son enfant. There are still two more poems which I must quote. They tell more about his poetry than any words of mine can do. The first is Dilection, and enumerates the subjects he prefers : DILECTION J'adore l'indecis, les sons, les couleurs freles, Tout ce qui tremble, ondule, et frissonne, et chatoie ; Les cheveux et les yeux, l'eau, les feuilles, la soie, Et la spiritualite des formes greles ; Les rimes se frolant comme des tourterelles, La fumee ou le songe en spirales tournoie, La chambre au crepuscule, ou Son profil se noie, Et la caresse de Ses mains surnaturelles ; Albert S amain 85 L'heure de ciel au long des levres calinee, L'ame comme d'un poids de delice inclinee, L'ame qui meurt ainsi qu'une rose fanee, Et tel coeur d'ombre chaste, embaume de mystere, Ou veille, comme le rubis d'un lampadaire, Nuit et jour, un amour mystique et solitaire.

Je reve de vers doux mourant comme des roses. These two poems together are an excellent analysis of his work. Good fortune did not change Samain. He was gentle, unaffected, painstaking, as before. He did not rush into print as the result of his success ; on the contrary, it was not until that his next book, Aux Flancs du Vase, was published. Between this simple and great poet and Samain, two days were enough to cement a friendship which lasted for the rest of Samain's life. They only saw each other for these few days, and once, later, when Jammes came to Paris for a short stay, and wandered about the park of Versailles with Samain, but the memory of his friend has never left Jammes.

One of his most beautiful Elegies is to Samain. These little journeys, including one to Italy, gave Samain great pleasure, and showed him more kinds of natural scenery than he had ever seen before. About this time, Samain's health began to give way. He complains of discomfort. This is the moment to follow up his success. Brunetiere makes advances to him for the Revue des Deux Mondes, and twice his poems are printed in it. But he is indifferent. His health is failing.

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He is writing Aux Flancs du Vase, and says that the idea of it "me hante comme un cauchemar," and that he can- not sleep for thinking of it. Unhappily, the moment passes, and when the book comes out in , it goes almost unnoticed. Too long a time had elapsed, Coppee was ill, and there was no fashionable critic to do for this volume what he had done for the other.

Twenty-five little poems, of a singu- larly advised simplicity and charm. The scenes are set in a conventional antiquity by means of Greek names being given to the characters, and the whole reminds one of a set of engravings by Boucher, or Fragonard, or Watteau. Not paintings, but engravings, each set in an oval, and faintly coloured.

It is a little boy struggling with a goat ; or a mother and child threading and bargaining their way through 88 Six French Poets a market ; or a girl chasing and catching a frog. Dans la coupe arrondie a 1'anse en col de cygne Pose les fruits choisis sur des feuilles de vigne : Les peches que recouvre un velours vierge encor, Et les lourds raisins bleus meles aux raisins d'or.

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Que le pain bien coupe remplisse les corbeilles, Et puis ferme la porte et chasse les abeilles. Dehors le soleil brule, et la muraille cuit. Rapprochons les volets, faisons presque la nuit. Aim qu'ainsi la salle, aux tenebres plongee, S'embaume toute aux fruits dont la table est chargce. Maintenant, va puiser Teau fraiche dans la cour ; Et veille que surtout la cruche, a ton retour, Garde longtemps, glacee et lentement fondue, Une vapeur legere a ses flancs suspendue.

L'enfant qui s'epuise sans fruit Sent venir a sa bouche une acrete saline. Plus heureuse, une bulle a la fin se dessine, Albert Sarnain 89 Et, conduite avec art, s'allonge, se distend Et s'arrondit enfln en un globe eclatant. L 'enfant souffle tou jours ; elle s'accroit encore : Elle a les cent couleurs du prisme et de l'aurore, Et reflete aux parois de son mince cristal Les arbres, la maison, la route et le cheval.

Prete a se detacher, merveilleuse, elle brille! L 'enfant retient son souffle, et voici qu'elle oscille, Et monte doucement, vert pale et rose clair, Comme un frele prodige etincelant dans l'air! Elle monte. Et soudain, Tame encore eblouie, Bathylle cherche en vain sa gloire evanouie. Pannyre aux talons d'or s'avance pour danser. Un voile aux mille plis la cache tout entiere. D'un long trille d'argent la flute la premiere L'invite ; elle s'elance, entre-croise ses pas, Et, du lent mouvement imprime par ses bras, Donne un rythme bizarre a l'etoffe nombreuse, Qui s'elargit, ondule, et se gonfle et se creuse, Et se deploie enfin en large tourbillon.

Et Pannyre devient fleur, flamme, papillon! Tous se taisent ; les yeux la suivent en extase. Peu a peu la fureur de la danse Pembrase. Elle tourne tou jours ; vite! La flamme eperdument vacille aux flambeaux d'or! Puis, brusque, elle s'arrete au milieu de la salle ; Et le voile qui tourne autour d'elle en spirale, 90 Six French Poets Suspendu dans sa course, apaise ses longs plis, Et, se collant aux seins aigus, aux fl. Little dramas, they are, sufficient each one to itself with a perfect finality.

And the delicacy with which they are done defies analysis. They are trans- parent, hardly printing themselves upon the atmos- phere, like egg-shell china held to the light. And yet what movement they have! One can almost hear the soft snap with which the soap-bubble bursts, and Pannyre's dance makes one giddy with its whirl ; and by what means he has given the folding of the draperies to stillness — to such utter, drooping heaviness — I do not know.

But there it is. While Samain was preparing this book for the press, his mother was taken ill. Sick himself, Samain nursed his mother and hung over her, fearing the event he dared not realize. It came in December, , and Samain was alone. His grief was desolating. His health, already extremely feeble, became worse. Consumption de- clared itself. He must be got away from Paris and the five flights of stairs to his apartment. Ray- mond Bonheur took him to Villefranche, but the winds were too strong and he moved to Vence. In the Spring he is back in Paris, but no better. Still he starts to work again, and writes the little play in verse, Poly 'pheme — attractive, insignificant — Albert Samain 91 which was published in the second edition of Aux Flancs du Vase, in The Winter was disastrous, his letters are full of his suffering.

In the Spring, he paid a visit to his sister in Lille, but it rained all the time and he could not leave the house. Paris again, and the five flights almost impossible to negotiate. Then M. Bonheur, generous and devoted as always, took him to his own house at Magny-les-Hammeaux in the depart- ment of Seine-et-Oise. But Samain feared to be a burden on his friend, and after a few weeks as his guest insisted upon hiring a house on the other side of the road and moving into it, believing, with the invincible optimism of the consumptive, that he should get well, and that they would go to Italy together in the Autumn.

Albert Samain died on the 1 8th of August, , and was buried in his native town of Lille. In , appeared his last volume of poems, Le Chariot d'Or, and in , a volume of prose stories, entitled Contes, both collections due to the care and affection of his friends. Not so polished as the latter probably, nor so arti- ficially captivating as the former. But many of the poems seem to have a larger humanity.

The eighteenth century pieces are here, but more tenderly, more regretfully done. Groupes sur l'herbe dans la brume. Pizzicati des violons. Entre les mains, les mains s'attardent, Le ciel ou les amants regardent Laisse un reflet rose dans l'eau ; Et dans la clairiere indecise, Que la nuit proche idealise, Passe entre Estelle et Cydalise L 'ombre amoureuse de Watteau. Watteau, peintre ideal de la Fete jolie, Ton art leger fut tendre et doux comme un soupir, Et tu donnas une ame inconnue au Desir En l'asseyant aux pieds de la Melancolie.

Tes bergers fins avaient la canne d'or au doigt ; Tes bergeres, non sans quelques facons hautaines, Promenaient, sous l'ombrage ou chant aient les fontaines, Leurs robes qu'effilait derriere un grand pli droit. Dans 1'air bleuatre et tiede agonisaient les roses ; Les coeurs s'ouvraient dans l'ombre au jardin apais6, Et les levres, prenant aux levres le baiser, Fiancaient l'amour triste a la douceur des choses. Albert Sarnain 93 Les Pelerins s'en vont au Pays ideal. La galere doree abandonne la rive ; Et l'amante a la proue ecoute au loin, pensive, Une flute mourir, dans le soir de cristal.

La mer est rose. II souffle une brise d'ete, Et quand la nef aborde au rivage argent e La lune doucement se leve sur Cythere. L'eventail balance sans treve Au rythme intime des aveux Fait, chaque fois qu'il se souleve, S'envoler au front des cheveux, L 'ombre est suave. Tout repose. Agnes sourit ; Leandre pose Sa viole sur son manteau ; Et sur les robes parfumees, Et sur les mains des Bien-Aimees, Flotte, au long des molles ramees, L'ame divine de Watteau.

Take these four sonnets on Versailles. Again, the artificiality has gone. The melancholy wears its natural complexion as it were, unpainted, and in No. II is a fine irony, gentle, — the author is Samain — but healthy and keen. Les ardeurs de l'ete s'eloignent, et voici Que s'incline vers nous la saison surannee. Je veux re voir au long d'une calme journee Tes eaux glauques que jonche un feuillage roussi, Et respirer encore, un soir d'or adouci, Ta beaute plus touchante au declin de l'annee.

Voici tes ifs en cone et tes tritons joufflus, Tes jardins composes ou Louis ne vient plus, Et ta pompe arborant les plumes et les casques. Comme un grand lys tu meurs, noble et triste, sans bruit ; Et ton onde epuisee au bord moisi des vasques S'ecoule, douce ainsi qu'un sanglot dans la nuit. II Grand air. Urbanite des f aeons anciennes. Haut ceremonial. Reverences sans fin. Crequi, Fronsac, beaux noms chatoyants de satin. Mains ducales dans les vieilles Valenciennes, Mains royales sur les epinettes.

Antiennes Des eveques devant Monseigneur le Dauphin. Albert Samain 95 Gestes de menuet et coeurs de biscuit fin ; Et ces graces que Ton disait Autrichiennes. Voyez la Pl. On en attachoit encore la figure aux chars des triomphateurs. Le faste n'est pas le luxe. On ne peut avoir de faste sans luxe. Une nation auroit plus de respect pour des chefs qui l'enrichiroient, que pour des chefs qui voudroient la faire passer pour riche. Tempora Notis condita fastis. Un homme fastidieux est un homme ennuyeux, importun, fatigant par ses discours, par ses manieres, ou par ses actions.

Il y a des ouvrages fastidieux. Le mot fastigium se prend aussi dans Vitruve, pour un fronton : tel est celui du porche de la Rotonde. Sort-il du spectacle? Il fait un long calcul de ses revenus ; il n'a que 60 mille livres de rente, il ne peut vivre. Il consulte la mode pour ses travers comme pour ses habits, pour ses indispositions comme pour ses voitures ; pour son medecin comme pour son tailleur.

Il manque aux engagemens qu'il a, il en feint quand il n'en a pas. La fortune est bonne ou mauvaise, le destin est favorable ou contraire, on est heureux ou malheureux. Cette liaison est-elle infaillible? On peut s'en convaincre par ces vers de Lucrece, liv. Augustin, de civit. Dei, lib. Ceci n'a besoin que d'une petite explication. En effet, pourquoi imagine-t-on que cet homme pouvoit bien ne pas passer?

Un auteur Frider. C'est aussi le vice du fat. Voyez ci-devant FAT. Marine c'est une sorte de balai fait de fils de vieux cordages, avec lequel on nettoye le vaisseau. Marine c'est nettoyer le vaisseau avec le fauber. Voyez la Planche du Cartonnier. Voici comment il se fabrique. Pour forger une faucille, on corroye une barre de fer avec une barre d'acier, telles qu'on les voit dans nos Planches.

La faucille a une soie par laquelle on la monte sur un manche de bois. Il y a plusieurs especes de faucons, qui sont tous des oiseaux de proie. Ray en distingue douze. Willughbi croit que l'autre est le haubereau, selon la description de Gesner. Le faucon rouge, falco rubeus. Ray doute de l'existence de ce faucon. Faucons rouges des Indes. Charles XII. Ordre encyclop. Science, Art, Economie rustiq.

Chasse, Fauconn. Voyez VOL. Le choix des oiseaux est une chose essentielle en fauconnerie. Un mois doit suffire pour dresser un oiseau. On ne leur en donne qu'une, mais bonne, dans les autres tems. Vers le mois de Mars, qui est le tems de l'amour, on fait avaler aux faucons des caillous de la grosseur d'une noisette, pour faire avorter leurs oeufs qui prennent alors de l'accroissement.

Les vers ou filandres s'engendrent dans la mulette. L'origine de fauconnier du roi est de l'an Voyez Etat de la France. Suivant l'art. Voyez Ridley dans son anatomie du cerveau, pag.

Une fiche technique intéressante

Pluche, dans son histoire du ciel, tome I. Maimonide, dans le More Nevochim, p. Voyez les notes de Grotius sur les vers. Servius confond ailleurs Faunus avec Pan, Ephialtes, incubus. Augustin, de civitate Dei, l. Bochart explique ce ficarii, des fics ou tubercules qu'on voit au visage des Satyres. Munster, dans ses notes sur la Genese, II. Selon Beaumanoir, dans le chap. Celui qui prenoit cette derniere voie devoit, comme dit Pierre de Fontaines en son conseil, chap. On ne pouvoit fausser le jugement rendu dans les justices royales. Defontaines, cha.

Louis, Softcover, First Edition

Voyez M. Louis, p. Voyez l. Les simples chaises sont beaucoup moins d'usage dans les appartemens que les fauteuils. I FAUX, adj. Exemple d'une regle de fausse position simple. Mais alors il n'y a plus de fausse position. Appellons x le nombre des jours de travail, 30 - x exprimera le nombre des jours de repos. E FAUX, adj. Quelquefois on condamnoit le faussaire aux mines, comme on en usa envers un certain Archippus.

Pour la punition du crime de fausse monnoie, voy. Les juges peuvent aussi augmenter l'amende, selon les cas. A FAUX, adj. Il y a des gens qui ont naturellement l'oreille fausse, ou, si l'on veut, le gosier ; de sorte qu'ils ne sauroient jamais entonner juste aucun intervalle. Voyez l'article BOIS. Voyez COTE. L'ordonnance de tit. Marine ce sont de certains signaux que l'on fait avec des amorces de poudre. Feu M.

Lelion architecte du Roi. Pendant cet espace de tems, on ne peut donc distinguer par la dentition le poulain d'un an, d'avec celui qui en aura deux. En second lieu, il est des chevaux qui n'en ont point : il est vrai que le cas est rare. Il est singulier que M. Voyez ibid. Ces faux-planchers se pratiquent aussi dans un galetas, pour en cacher le faux-comble. On lui donne peu de hauteur. Voyez l'ordonnance de , tit. S'ils ne sont que ce qu'on appelle, en termes de faux-saunage, de simples porte-cols, ils payent d'abord l. De la charge des gouverneurs, par le chevalier de Ville.

On en fait aussi dans l'escalade. La citadelle de Tournay, construite par M. Mais M. Comme ces visceres sont dits naturels, M. Droit politiq. J'en vais donner quelques exemples pour me faire entendre. Cet accident arrive beaucoup plus souvent dans les deux ou trois premiers mois de la grossesse, que dans tous les autres. Hippocrate, aux V. Pourquoi, leur dit-il, vous percez-vous les entrailles avec de petits traits aigus?

Vestra quid effoditis subjectis viscera telis? Voici ses paroles : est etiam aeneum spiculum quo jugulatio ipsa dirigitur coeco latrocinio ; appellant, utique viventis infantis peremptorium. La loi d'Henri II. Il faut puiser les remedes du mal dans l'homme, dans la nature, dans le bien public. Mais comment parer aux autres avortemens? La seule raison de cette pratique, est pour diminuer le pesant fardeau qui opprime une pauvre femme incapable de nourrir ses enfans.

Voyage de la baie d'Hudson, par Ellys. Les joints C D, C D, figure La figure 2. Voyez CAGE. Voyez la fig.

Figures symboliques

Aegusa des anciens. Faveur differe beaucoup de grace. Obtenir grace, c'est l'effet d'un moment ; obtenir la faveur est l'effet du tems. Des lettres de recommandation s'appelloient autrefois des lettres de faveur. Imitons Daphnis. Voyez cod. Plusieurs princes en Allemagne ont des maisons de campagne qu'on appelle la favorite. Mandeslo , voyage des Indes, liv. La fayence est originaire de Faenza en Italie. Voyez fig. Quand il y en a un nombre suffisant, alors il fait la tournasine, selon la piece. On se pourvoit de piliers de terre de plusieurs hauteurs, selon les pieces.

On forme ces piliers sur la roue. Voici une bonne composition pour la fayence ordinaire, telle que celle de Nevers. Le salin, c'est le sel de verre. On commence par allumer un petit feu dans le foyer de la bouche. Voyez dans la figure On quitte le four au bout de trente ou de trente-six heures. On feroit ensuite un nouvel essai, en trempant un autre vaisseau.

Par les trois trous d'en-bas, on passe trois pernettes ou prismes de terre figure Les gasettes fig. Mais la plus grande partie des fayences sont peintes : voici comment on les colore. On prend autant de smalt voy. Autre jaune : 4 livres mine de plomb ou de plomb rouge, 2. Vert : 2 livres vert d'ardoise, 1. Autre vert : 1. Autre vert : 4. Brun : calcinez l'ardoise deux fois sur le four, mettez-la en poudre, prenez-en 2 parties ; 2. Autre : 3. Bleu violet : 1. Voyez la tournette, fig.

Autre de Hollande : Jaune : 6. Brun : 6.

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