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Child of materialism and positivism, Courbet was without a doubt one of the most complex painters of the nineteenth century. Symbolising the rejection of traditions, Courbet did not hesitate to confront the public with the truth by liberating painting of conventional rules. He became from then on the leader of pictorial realism.
An aristocratic lady travels alone to picturesque Monaco, expecting a peaceful vacation. It turns into a place of horror for the woman, however, as she experiences something unspeakable at the artificial lake. She details her experiences in a letter to a dear friend. This grim tale was Maupassant's dive into something new, and his experiment paid off - creating a chilling story that rivals even the masters of the supernatural genre. Guy de Maupassant (1850-1893) was a French writer. Famed for being a master of the short story, he also wrote travel books and occasionally dabbled in poetry. His stories mainly focus on the relationships between men and women sitting at crossroads in their lives - whether personal or professional. His dramatic flair is largely influenced by French novelist Gustave Flaubert and is perfect for fans of Anton Chekhov's short stories. The most notable of the 300 short stories that he wrote include 'Bel Ami', 'Une Vie', and 'The Dumpling'.
DigiCat Publishing presents to you this special edition of "The Amethyst Ring" by Anatole France. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
ÊIn those days there were many hermits living in the desert. On both banks of the Nile numerous huts, built by these solitary dwellers, of branches held together by clay, were scattered at a little distance from each other, so that the inhabitants could live alone, and yet help one another in case of need. Churches, each surmounted by a cross, stood here and there amongst the huts, and the monks flocked to them at each festival to celebrate the services or to partake of the Communion. There were also, here and there on the banks of the river, monasteries, where the cenobites lived in separate cells, and only met together that they might the better enjoy their solitude. Both hermits and cenobites led abstemious lives, taking no food till after sunset, and eating nothing but bread with a little salt and hyssop. Some retired into the desert, and led a still more strange life in some cave or tomb. All lived in temperance and chastity; they wore a hair shirt and a hood, slept on the bare ground after long watching, prayed, sang psalms, and, in short, spent their days in works of penitence. As an atonement for original sin, they refused their body not only all pleasures and satisfactions, but even that care and attention which in this age are deemed indispensable. They believed that the diseases of our members purify our souls, and the flesh could put on no adornment more glorious than wounds and ulcers. Thus, they thought they fulfilled the words of the prophet, "The desert shall rejoice and blossom as the rose." Amongst the inhabitants of the holy Thebaid, there were some who passed their days in asceticism and contemplation; others gained their livelihood by plaiting palm fibre, or by working at harvest-time for the neighbouring farmers. The Gentiles wrongly suspected some of them of living by brigandage, and allying themselves to the nomadic Arabs who robbed the caravans. But, as a matter of fact, the monks despised riches, and the odour of their sanctity rose to heaven. Angels in the likeness of young men, came, staff in hand, as travellers, to visit the hermitages; whilst demonsÑhaving assumed the form of Ethiopians or of animalsÑwandered round the habitations of the hermits in order to lead them into temptation. When the monks went in the morning to fill their pitcher at the spring, they saw the footprints of Satyrs and Aigipans in the sand. The Thebaid was, really and spiritually, a battlefield, where, at all times, and more especially at night, there were terrible conflicts between heaven and hell.
The majority of these collected essays date from 1992 onwards, three of them having been specially expanded for this volume. Drawing on recent archival research and new musicological theory, they investigate distinctive qualities in French opera from early opéra comique to early grand opera. ’Media’ is interpreted in terms of both narrative systems and practical theatre resources. One group of essays identifies narrative systems in ’minuet-scenes’, in the diegetic romance, and in special uses of musical motives. Another group concerns the theory and æsthetics of opera, in which uses of metaphor help us interpret audience reception. A third group focuses on orchestral and staging practices, brought together in a new theory of the 'melodrama model’ linking various genres from the 1780s with the world of the 1820s. French opera’s relation with literature and politics is a continuing theme, explored in writings on prison scenes, Ossian, and public-private dramaturgy in grand opera. David Charlton has written widely on French music and opera topics for over 25 years. The selection of his articles presented here focuses on the period 1730-1830 when Paris was a hotbed of influential ideas in music and music theatre, with many of these ideas taken up by foreign composers. This volume assesses the French contribution to the development of Classical and Romantic styles and genres which has hitherto not received the attention it deserves.
Music! It is the great pleasure of this city, the great occupation of the drawing-rooms, which have banished politics, and which have renounced literature, from ennui. Jules Janin, An American in Paris, 1843 Afternoon and evening entertainments in the drawing rooms of the aristocracy and upper middle classes were a staple of cultural life in nineteenth-century Paris. Music was often a feature of these occasions and private salons provided important opportunities for musicians, especially singers, to develop their careers. Such recitals included excerpts from favourite operas, but also the more traditional forms of French song, the romance and its successor the m die. Drawing on extensive research into the musical press of the period, David Tunley paints a vivid portrait of the nineteenth-century Parisien salons and the performers who sang in them. Against this colourful backdrop, he discusses the development of French romantic song, with its hallmarks of simplicity and clarity of diction. Combined with Italian influences and the impression made by Schubert's songs, the French romance developed into a form with greater complexity - the m die. Salons, Singers and Songs describes this transformation and the seeds it sowed for music by later composers such as Faur Duparc and Debussy.
