Complete Works Tra 08 Gau Tu of t

http://slidepdf.com/reader/full/complete-works-tra-08-gau-tu-of-t 1/750
»J* 4-.
•£»» •*
»£'»£-»» »' »
« •
«*•• •
looked
like
«bdr db
"-'* "-"* "^*
"-"
'-""
"^* *^*
• •
• •• •
#4* «i+
the
eyes,
an
orange
AVATAR
the
Jockey
Club
had
he
"chosen
to
become
a
candidate
for
election.
How
was
4. 4»
•§•«§• •§•
am
plunging.
Though,
in
*S**S*
•*••=••• ••
»£»
«A*»4«*j''«J **¥**S*«9**9**A*«5»«S* <B*
»j» «4»
#?«
Apennines.
Through
the
open
arcading
showed
•1**4*
aa
press,
a
veg-
etable
Wilton
on
•J**I*
*4»
*4«
**w
t.ii
vfs»
visf
<rv
«p#
mv>
a
angelic
purity
and
chaste
as
the
snow
on
the
highest
peak
into
the
attitudes
of
monkeys.
Their
human
*i**s* ***
•£»
«J*
*A» « /*
#J'»
#A*
V»* *>J -".*
•l/*«4*
• •
• ••#•
hand,
and
the
youth
withdrew
by
a
small
door
cut
in
the
wainscotting
of
the
alcove.
#i*
«JL*
• «
•£•• •
• »
«A» *X»
presently
be
nude
and
freed
4* *A*
»l*«|*«l*»i*#l*»l«ri««l*«i*#l*»i«
• • rl*#l*
4. 4»
4. 4-
*jj j4j
»i-» « -«
«A.
• •»£«
• *«£•
soon be
stentorian
voice,
tbdb^rdtdb
the
Wilton
carpet,
held
fast
by
gilded
brass
rods,
groups,
•J/» #Jt*
*l* rJ/«
prime
liquor
that
9-t*•
«JU
»1*
•4**6*
#1*
»J-»«-f«
of
the
mirror
with
an
air
of
wonderment.
At
first
he
4»4»»»«
without
feeling
the
class
of
-U.1.
.1.4.
4.
light
of
the
candles,
the
reflection
given
i: 4c
door.
former
owner.
Suppose
I
were
to
go
back
to
my
home?
No
•4* #1*
love
with
for
me ?
Others,
»£•• • • •
•A**A«
»A. rJ-.
,
Count
Olaf
Labinski
4*
4*
4«
4*
4.4»4»4»4»4»4»4»4»4»4»4j4»4»4»4»
AVATAR
however,
and
Dr
Cherbonneau
had
performed
his
work
conscientiously.
In
î,
«X»
JL
high-
est
point
in
that
marvellous
piece
of
work,
which
must
have
been
wrought
by
fairy
fingers.
It
was
in
this
i: db
empress's
cloak.
Assuredly
the
tresses
Florence,
*1* #1* #J*
JU ri* +1*
•4*«4«'4««l«'^*^«*l*#i««i«#li«l«*i«#i*#.l»
«S«
•i*#i«
*i*
simplicity.
the sonorous
AVATAR
An
earthly
passion
blazed
in
his
glance,
which
troubled
her
and
made
her
blush.
She
had
no
*i*
»U«l*4*4*4«»i««£«*4««i**£«*i*»l**f««f**i*»i«
36
learn
the
tongue
in
to
receive
«i*
«X«
;
•§•
your
two
attempts.
If
you
tried
again,
vou
would
cer-
tainly
his
drawers
and
run
through
his
papers.
Consequently
you
must
be
aware
*i«#JU
*f* r^/»
•**
be-
loved,
as
«ft* <4o
could
be
found,
or
phy-
sician.
He
4'
J-» 4-. *
U wL,
physician,
«<• •i*«i*
* >••&•
•£••&•
•£•• &•»£•
•§•• •
•£•*> •
*v**4*
customs
of
the
lower
classes
in
Naples.
The
J>J.,1,,I,J,
,1, J»
4»
JETTATURA
his
hand
the
blue-black
mark
that
was
already
showing
on
his
skin,
and
convinced
# /»
plants
and
204
external
resemblance
to
the
Englishmen
in
farces
which
Hoffmann
#J*«1*
•A* •£* #A%
gone,
on
*
*
#£*
» »
*••» »
»A»
»4»
.-••
. •»'-.
• *
•*
•U«aU«i««J««l«#i*#l*»i*#l*»i*#i«
«1*
4»
4»4*
4»4'4^4^4»4^4^4j4^4^4;4«4^«l;4«4»
JETTATURA
One
of
the
cords
of
the
hammock
broke,
and
Miss
Ward
slipped
to
the
ground,
though
without
hurting
herself,
•I** *
«J*
k 4:
i: :b
with
a
flip
of
the
finger."
*S*
•5* •*•
*HJ
JETTATURA
going
on.
The
spectators
nearest
Paul
vanished
one
after
«J » •J*
*^*
™
• •• •
• •
•§•• •
•f**f*
•l*«A»«4»«i««|««l*«j««f«*l'*«A*«j«
*f«
-J -» -4
»f*
archangel
and
gleamed
with
sinister
depths
of
the
mirror.
The
rays
4* *§* *>i»
<-|-t
rl»
;
isdt^sieis
274
*§**i*«t*
rl-» *0*
• *
«'i'» »J
•I/* in
X
ALICIA'S
gesture,
under
his
so-called
fatal
glance
than
have
rejected
a
love
she
had
accepted
with
her
uncle's
consent
and
which
marriage
was
soon
to
crown.
She
resembled
some-
what
the
chastely
bold,
virginly
resolute
heroines
of
Shakespeare,
jettatore
for
a
son-in-law.
4.
4.
4* 4*
• ••£*•£*»£••£*
engage-
ment
to
Paul,
I
should
be
JETTATURA
indeed
you,
you
cursed
Paul,
whose
breath
is
withering
that
heavenly
flower,
I
will
strangle
you
with
my
own
hands.
But
Nancy
see
Mr.
Paul
d'Aspremont."
«A»«4»
rl* »i»
•i*«l**t*jU»f«*I*«i*«i«*i**£**l'**i*
*i* »'"»i»
•*•
"»
"•
•*"»
••» •*»
•'•
•"» *'*
•"• '"•
"•"
minutes'
reflection
during
A% fit
with
the
landscapes
in
Manila
matting.
A
table,
on
which
was
thrown
a
Turkish
cloth,
whereon
lay
volumes
of
verse,
Cole-
ridge,
Shelley,
Tennyson,
and
Longfellow,
golden
line,
the
girl's
imagination.
A
shadow
of
melancholy
brooded
upon
her
lovely
brow,
•i**A**l«* **i**i**l**l**4**l«*l«
A
•£*« *
*•
*«• «*• «*#
JETTATURA
appeared.
Of
•A* *A*
*A»
#
•Jt* «A*
* •
•**
**•
ball-room,
duty
33
2
•4* #4»
*x, «x*
«1*
• »
•*•»*• • • »I»»I*
•5. J*.
«J* <4>
«4*
*4»
*4*
*A»
«4»
»4»
•4»
*4*
•4*<4«*i*«4**i*>s**i**l**s**i**s«
•l**i*<4*
return
home
if
the
latter
did
4<4<
.**
•§•
•£*•£•
-It «X*
#st* •£« «A%
Kouan
were
friends,
they
belly
of
carps.
On
each
ridge
were
crocketings
J-% -l»
«s(u r-K
cangue.
The
boy
was
" • »1* **«*9*
•I* «A*
THE
WATER
PAVILION
At
last
the
parents
of
the
two
young
people
began
to
feel
some
alarm
pillars,
the
traccricd
frieze,
3
6
5
«4»*A*
house,
fought
in,
# •» « *£•
«*«
•&•
«*• •
•»*
**»• **•
«*• •»>
*»*
•*-
*§•
power
that,
recalled
the
eagle's
flight.
ri, î,
*
*
** -• *
«1*«4*
Jb
by
a
Merovingian
superabundance
of
hair
on
my
head.
day,
and
always
tastefully
kept
to
sombre
colours,
Petrus
Borel
inspired
me
with
exceeding
awe,
and
I
treated
him
with
the
Indus
•&••**
THE INNER
which
lends
and
to
communicate
•1**1*
*s* »4»
A HISTORY
a,
J-
.x.
-J-
ri-
j,
•?* •*«* «^» •••
national
School
r4*
*i*«i««l<*i*«4«*i*>l*»i**l*>t**4**e*
»i»
4*4*4*4*4*
4*4«4»4«4«4^4^4j4^4^4«4^4^4*4^4»4«4j;4j
A
HISTORY
OF
ROMANTICISM
ignorant
and
obstinate
avarice
not
uncommon
among
small
proprietors.
My
glance
never
falls
upon
light
of
the
street-lamps
•X* *4*
OTM •*»#
«*• W*
WW
«W» *»*
dedicated his
«*•#*»
man
desire,
JL JL
4*4*
4-^^4.A4,4,J,4,X
# •»
« /*
manors,
the
hypocritical
mien
of
the
#*•
4;4»4;
•A* «4U
#4* *A*
Jud»
Jt»4»4»4»4»4»4»4'»4*4»4»4»4;4[;
OTHER
MEDALLIONS
every
one,
like
the
responses
of
a
litany.
We
were
young,
handsome,
proud,
»i*
—- •'ist
suddenly
awakened
as
upon
his
brow
with
confidential
whispers;
he
has
wandered
under
Brocken
have
danced
4» • • 4»
4*4»4>4~4>
4»4»4»4*4»4»4»4«4«4»4»4*4»4»4»4«4»4»4»
•^« vw# •*># *r*
•I* *4»
*•*•
•*<•
•*«•
custom
to
call
tout
Paris
is
assembled,
with
hair
as
long
as
Albert
Diirer's
and
a
waistcoat
as
red
as
the
orchestra
stalls
a
hairless,
ivory-coloured
skull,
shining
«4**4*
•4* «A*
«X« *i*
hooks
down
the
back
like
the
waistcoats
of
the
Saint-
Simonians,
Sierra.
In
spite
of
the
easily
understood
repugnance
of
worthy
Gaulois,
the
doublet
was
duly
made,
was
hooked
behind,
and,
save
for
only
one
of
a
flat
hat.
The
impassibility
of
his
pale,
regular
features,
and
*4* * -• *1* • • *t» «|**l*
^<4»»4»»A»*i»«4»»l»#l%»i%#-U»A»#i»#4*
#1*
U«
ju
MM
wondrous
doublet.
136
a.a,a~A,A.
MS
«5«
»1»
at one
•M«ft»Mt
w§m
like a
far-away sigh
the faint
=i» »ju
»i**£*»i*ri**i*»i**i*»i«*l*»i*»l*
» • *?*»f*
•*• «M« •**
»im
4*4*
•I-***"
^^4»4»4?4«4»4»4»4»4»4«4»4»4»4j
PERFORMANCE
OF
"HERNANI"
the
play
began,
so
great
was
the
animosity
between
•§•• *• »
THE
REVIVAL
OF
"HERNANI"
and
it
was
with
melancholy
pleasure
that
I
recognised
them
in
of
yore,
and
night
after
night
Hernani
play
by
heart,
and
even
now,
if
need
were,
I
could
4.4*4.4.4*
pundonor,
the
ananke
of
so
many
Span-
appear
strange
at
the
present
day,
but
at
that
time
pseudo-
ei*
#4*
•4* *4»
el*
«4»
•« *E* *ft*
• • •*•• •
•A««f»
*l* «x»
«i*«j*
*l*Ji
•^
***#
*i**I*
Wffji
A* A*
<JU *4U
•1**1*
A* *J-»
ness,
but
on
which
it
is
easy
until
«JU«>ii«l*«l*«i«*l««|««JU«j«rJ9cl«*i«
#i*
*g*
*V*
«** mm*
*£U
4*
*J<*
»ti
*i«
i.i.i,^.L 4.
«*#
4*4*
•£••£•
•£••£•
«. .&•
JU
•*•
«*•
great
rl? ilr
db 'ir
• •• •
•£•
Adam's
first
wife
"
# -»
new
school,
especially
didactic
poems.
Although
the
style
appears
to
be
old-fashioned,
it
is
really
antique
only.
Hesiod
wrote
the
u
spare
the
sittings.
The
accuracy
of
the
drawing
and
the
favourite
subject
for
practice
~1 * *J
#£•» *
i* »i>
^t-» «x»
rli J-.
J-. «J->
Û4^4*4»4»4»4^«l»»k»A.«4*fA.»4«»l»r*»
•S.^v^.W7<>MW~«K><7>«T*'r>«T*<*<«r««r«
«r» •»»
•»» vr» •»»•»»•»»
•4*«i*
# •
«X»«l**l«#|««l««l%»l*el*ei*«l*#l*
«1*
«S**f*
hearers,
just
as
on
Cape
Sunium
4,J,J,J,XXJ,a,,l,a,J,4,4,,l,Xti,
•#•
strident
laughter
of
the
prostitute,
»i»*K
#*•
• * •1>«1«
night.
was
no
#i*#l*#j««f*#t»»j**i*ri*ri**i*
ri-. »i**J'
a
flower.
returning
to
their
vast
ellipse
in
the
deep
blue
sky,
4*4*
4»4»4»4»4»4»4»4^4»4»4^4»4»4j4»4j
PROGRESS
OF
FRENCH
POETRY
be
nothing
but
praise
for
the
skilful
manner
which
o-*
*Z*
a^>
*l*
#1*
«X*
ri
gygyglj
PROGRESS
OF
FRENCH
POETRY
«4«#§»
what the face
rft
have
in
poetry,
a
thorough
realist
**•
•JU *A*
suffering.
A
very
competent
•4**1*
*i*
*s*
which
the
poet
of
the
lions
they
have
crushed
genealogical
tree
that
feeds
on
Italy's
poisoned
sap.
Each
one
shows
out
in
proud
attitude,
drawn
:b i:
in
tk&
PROGRESS
OF
FRENCH
POETRY
while,
pressing
his
brow
against
the
pane
of
one
of
the
windows
of
the
palace,
is
seen
the
wan
face
of
Philip
II,
thinking
»i*»&*#4*
#1* *L»
«4» •4*«4*«l««j«rio*i««>l«^l«*i«
vJUrl* JU

Complete Works Tra 08 Gau Tu of t

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