large/7215/rameaus_nephew_bb3_librivox_64kb_mp3/rameausnephew_7_diderot_64kb_90
large/7215/rameaus_nephew_bb3_librivox_64kb_mp3/rameausnephew_7_diderot_64kb
English
7215
"Cruel barbarian, plunge your dagger in my breast. Here I am ready to receive the fatal blow! Strike. Dare....Oh, I faint, I die....A secret fire lights up my senses.... CRUEL BARBARIAN PLUNGE YOUR DAGGER IN MY BREAST HERE I AM READY TO RECEIVE THE FATAL BLOW STRIKE DARE OH I FAINT I DIE A SECRET FIRE LIGHTS UP MY SENSES
their charming poems which can be set to music. There are ingenious sentences, light madrigals, tender and delicate, but if you want to see how that's a barren resource for our art, which is the most demanding of all--and I don't except the art of Demosthenes--get someone to recite these pieces. You'll find them so cold, listless, and monotonous. There's nothing there which could serve as the basis for a melody. I'd sooner have La Rochefoucauld's Maxims or Pascal's Pensées set to music. The cry of animal passion should dictate the line which suits us. The expressive passages must follow each other closely. The phrasing must be brief, the sense cut off, suspended, so the musician can use the whole piece and each of its parts, leaving out a word or repeating it, adding a missing word, turning and re-turning it, like a polyp, without destroying it--all that makes French lyric poetry much harder than is the case with languages with inversions which in themselves offer all these advantages. T SIX CONSECUTIVE LINES IN ALL THEIR CHARMING POEMS WHICH CAN BE SET TO MUSIC THERE ARE INGENIOUS SENTENCES LIGHT MADRIGALS TENDER AND DELICATE BUT IF YOU WANT TO SEE HOW THAT'S A BARREN RESOURCE FOR OUR ART WHICH IS THE MOST IMAGINE OF ALL AND I DON'T ACCEPT THE ART OF DEMOSTHENES GET SOME ONE TO RECITE THESE PIECES YOU'LL FIND THEM SO COLD LISTLESS AND MONOTONOUS THERE'S NOTHING THERE WHICH COULD SERVE AS THE BASIS FOR A MELODY I'D SOONER HAVE LA ROUCH A PAUCOUD'S MAXIMS OR PASTELS PAN SET TO MUSIC THE CRY OF ANIMAL PASSION SHOULD DICTATE THE LINE WHICH SUITS US THE EXPRESSIVE PASSAGES MUST FOLLOW EACH OTHER CLOSELY THE PHRASING MUST BE BRIEF THE SENSE CUT OFF SUSPENDED SO THE MUSICIAN CAN USE THE WHOLE PIECE ON EACH OF ITS PARTS LEAVING OUT A WORD OR REPEATING IT ADDING A MISSING WORD TURNING AND RETURNING IT LIKE A POLYP WITHOUT DESTROYING IT ALL THAT MAKES FRENCH LYRIC POETRY MUCH HARDER THAN IS THE CASE WITH LANGUAGES WITHIN VERSIONS WHICH IN THEMSELVES OFFER ALL THESE ADVANTAGES
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