to us1 from our childhood as natural enemies; and we are urged on 2 like curs to worry each other." 5 In like manner 3 we should 1 4 learn to be just to individuals. Who can say, "In such circumstances I should have done otherwise ?" Who, did he but reflect by what slow gradations, often by how many strange concurrences, we are led astray; with how much reluctance, how much agony, how many efforts to escape, how many self-accusations, how many sighs, how many tears-who, did he but reflect for 10 a moment, would have the heart to cast a stone? Fortunately, these things are known to Him from whom no secrets are hidden; and let us rest in the assurance that His judgments are not as ours are.14 13 8 11 12 SAMUEL ROGERS, "Italy." 1 Are held up to us, nous sont dénoncés-2 and we are urged on, et l'on nous pousse-3 in like manner, de même-4 we should, nous devrions (see note a, p. 1)-5 to, envers-6 done, "acted"-7 "who (quel) is he (celui) who, if he reflected only"-8 self-accusations, reproches intérieurs-9 did he but reflect, "if he reflected only"for, to be left out-11 to Him from whom, de Celui pour qui12 singular-13 see note ", p. 69-14 as ours are, "like ours. 10 a To worry each other, à nous tourmenter les uns les autres.-In reciprocal verbs, the reflective pronouns me, te, se, nous, vous, are thus used in French, together with l'un l'autre, or les uns les autres. Compare the following constructions of reflective and reciprocal verbs: (1) "They hurt themselves," ils se blessent. (2) They hurt themselves" (with emphasis or contradistinction), ils se blessent eux-mêmes. (3) They hurt each other," ils se blessent l'un l'autre, or (if more than two), les uns les autres. Observe also, that if a preposition precede each other or one another in English, it must, in French, be placed between l'un and l'autre, or les uns and les autres. Ex.: They have fought against each other, ils se sont battus l'un contre l'autre-not: contre l'un l'autre. JOAN OF ARC. 85 JOAN OF ARC. 2 3 Shakspeare, who is horribly unjust to 1 Joan of Arc,* has put a sublime speech into her mouth, where 3 she answers Burgundy, who had accused her of sorcery— "Because you want the grace that others have, To' compass wonders but by the help of devils!" 12 The whole theory of popular superstition comprised in three lines! But Joan herself-how 10 at her name the whole heart seems to rise up in resentment,11 not so much against her cowardly executioners as against those who have so wronged 13 her memory! Never was a character, historically pure, bright, definite, and perfect in every feature and outline, so abominably treated 14 in poetry and fiction,-perhaps for this reason, that she 15 was in herself so exquisitely wrought,16 so complete a specimen 17 of the heroic, the poetic, the romantic, that she could not be touched by art or modi 1 To, "towards”—2 has put a sublime speech into her mouth, lui a mis à la bouche (see note, p. 7) des paroles sublimes-3 where, "when" (see note 4, p. 49)-4 Burgundy, au Duc de Bourgogne-5 you want, il vous manque-6 literally: "that have others"- you judge it straight a thing impossible to, vous jugez incontinent que c'est chose impossible que de- but by the help, sauf avec l'aide-9 see note ", p. 80-13 how, combien-11 to rise up in resentment, se soulever de colère-12 not, non pas-13 so wronged, tellement outragé-14" illtreated"-15 she, Jeanne-16 in herself so exquisitely wrought, d'une nature si exquise-17 so complete a specimen, qu'elle présentait un si parfait modèle. a Never was a character.. ...so, etc, jamais caractère......n'a été si, etc. The omission of the indefinite article after jamais in a construction of this kind is emphatic and elegant. * Joan of Arc (the Maid of Orleans) was born at Domremi, a village on the borders of Lorraine, in 1409, and was put to death at Rouen in 1431. 9 3 4 fied by fancy, without being in some degree1 profaned. As to art, I never saw yet 2 any representation of "Jeanne la grande Pastoure," except, perhaps, the lovely statue by the Princess of Wurtemburg,* which I could endure to look at; and even that gives us the contemplative simplicity, but not the power, intellect, and energy which must have formed 5 so large a part of the character. Then as to the poets-what shall be said of them? First, Shakspeare, writing for the English stage, took up 10 the popular idea of the character as it 11 prevailed in England in his own 12 time. Into the hypothesis that the greater part of Henry VI. is not by 13 Shakspeare, there is no occasion 14 to enter here; the original conception of the character of Joan of Arc may 15 not be his,16 but he has left it untouched 17 in its principal features. The English hated the memory of the French heroine, because she had caused the loss of 18 France, and humiliated us 19 as a nation; and our chroniclers revenged themselves and healed their wounded 20 self-love by 21 imputing her victories to witchcraft. MRS. JAMESON, "Notes on Art." 1 In some degree, jusqu'à un certain point-2 I never saw yet, jamais jusqu'à présent je n'ai vu-3 which I could endure to look at, "of which I could (imp. subj.) bear the sight"— and even that gives us, et encore celle-ci nous donne bien-5 which must have formed, see note a, p. 27-6❝a so large”—7 the, "her "_" then as to the, et quant à ce qui est des-9 what shall be said, que dire-10 took up, adopta-11 as it, "such as it"—12 in his own, de sonby, de 14 there is no occasion, il n'y a pas lieu-15 may, see note a, p. 2— 16 his, son œuvre (or: de lui)-17 untouched, intact-18 "because she had caused us to lose" (see note b, p. 38)-19 19" and she had humiliated us" (see note a, p. 72)-20 and healed their wounded, et cicatrisèrent les plaies de leur-21 by, en. * Daughter of King Louis-Philippe. 13 A FRIEND'S ADVICE. 87 A FRIEND'S ADVICE. Your father received me in his library; and, on my taking leave," showed me a shorter way out of the house, through a narrow passage, which was crossed by a beam overhead.3 We were still talking, as I withdrew, he accompanying me behind,5' and I turning 6 partly towards him, when he said hastily," "Stoop! stoop!" I did not understand him till I felt my head hit against the beam. He was 10 a man who never missed any 11 occasion of giving instruction; and upon this 12 he said to me: "You are young, and have 13 the world before you; stoop as you go through it,14 and you will miss many "16 This advice, hard thumps." 16 9 15 8 4 1 "He showed"-2 out of, pour sortir de 3 which was crossed by ..overhead, “of which the ceiling was crossed by......"- we were still talking, nous continuions de causer-5 he accompanying me behind, lui marchant derrière-6" turning myself"-7" when all at once he exclaimed"— I did not understand him till, je ne compris ce qu'il voulait me dire que quand-9 I felt my head hit, je me sentis heurter de la tête-or: je me sentis cogner la tête (see note , p. 7)-10 "it was"-11 any, une-12 upon this, là-dessus (or: à ce propos)-13" and you have"-14 as you go through it, en le traversant-15 miss, "avoid"-16 many hard thumps, plus d'un rude coup. a On my taking leave. This construction of a personal pronoun, "my," "thy,” etc., with a present participle, which is extremely common in English, does not exist in French. Turn the text into, "when I took leave," quand je pris congé de lui. b Of giving instruction, de vous donner une leçon. "Vous" is here expletive (from the Latin explere, to fill up). The sentence would be correct and complete without it; but the addition of vous is graphic, and conveys the fact mentioned more vividly and more pointedly.-Expletives (chiefly the pronouns moi and vous) occur frequently in familiar language in French : Prends-moi le bon parti, laisse là tous les livres.-Boileau. Maint estafier accourt; on vous happe notre homme, (On vous happe notre homme, etc.; they catch the fellow, they lay on him, and beat him unmercifully.") Of the same nature is the pronoun mihi in this line : Qui metuens vivit, liber mihi non erit unquam.-Horace. The same occurs also occasionally in Greek. thus beat into my head,1 has frequently been of use to me; and I often think of it when I see pride mortified, and misfortune brought upon people by their carrying their heads too high.5 FRANKLIN. RIENZI IN POWER (A.D. 1347). 9 "In intoxication," says the proverb, "men betray their real characters." There is a no less honest and truth-revealing intoxication in prosperity than in wine. The varnish of power brings forth 10 at once the defects and the beauties of the human portrait. The unprecedented and almost miraculous rise of Rienzi from the rank of the pontiff's official to the 12 Lord of Rome, would have been accompanied with 13 a yet greater miracle, if it had not somewhat dazzled and seduced the object it elevated.14 When, as in wellordered states and tranquil times, men rise slowly step by step,15 they accustom themselves to their growing fortunes.16 But the leap of an hour from a citizen to a 17 prince-from the victim of oppression to the dis 1 Thus beat into my head, qui m'était ainsi enfoncé (or: qui m'entrait ainsi de force)-2 of use, "useful"-3 see note, p. 3-4 of, "to"-5" and the misfortunes which people draw upon themselves (s'attirent) in carrying too high the head." 6 In, au- characters, singular- truth-revealing, révélatrice9"there is in prosperity an intoxication no less honest and no less truth-revealing than" (see note, p. 52)-10 brings forth, fait ressortir-" of the pontiff's official, de fonctionnaire pontifical-12 to the, "to that of"13 would have been accompanied with, eût été signalée par-14 the object it elevated, simply : "him"-15 "when men rise slowly step by (à) step, as it happens in states, etc."16 their growing fortunes, "the growth of their fortune (sing.) "-" the leap of an hour from a citizen to a, bondir en une heure de l'état de citoyen à celui de. |