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PDF of La Marquise Des Poisons Les Enquetes de Gabriel Nicolas de La Reynie 1St Edition Olivier Seigneur Full Chapter Ebook
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Du même auteur
ISBN : 978-2-259-26359-7
Mise en pages : Graphic Hainaut
Dépôt légal : mai 2018
Tout était en place, il était aux aguets. En haillons, prêt à bondir, savon
dans la poche – du savon pour le cas où, et de surcroît à la salicorne, c’est
ce qui produisait la meilleure mousse, le meilleur effet –, l’homme maigre
était tapi dans une embrasure, nul ne lui prêtait attention dans cette rue
populeuse. Il n’eut pas longtemps à attendre. La scène, l’accident ne dura
qu’un instant. Au premier coup d’œil, le truand comprit qu’une fois de
plus son stratagème, son piège fonctionnait à merveille. Gêné par un tas
de planches et de cailloux à dessein placés au meilleur endroit, le laquais
qui tirait une vinaigrette9 à l’occupante pressée fit un brusque écart. Son
talon glissa dans la fange du caniveau qui courait au milieu de la rue,
comme partout à Paris : ce jour-là, les boueurs n’étaient pas passés. Le
valet flancha, voulut se redresser, mais il était robuste, sans doute trop,
resta droit, et ce fut la chaise à porteurs qui s’en trouva déséquilibrée, qui
chut sur le côté. L’essieu sauta dans son encoche, ne rompit pas, non plus
que les brancards de frêne. Mais la vitre, elle, se brisa en de longs éclats.
Tout recourbé, tout tordu, le malfrat fut d’un saut à la portière. Il éructa,
bava :
— La charité ! Au nom du bon saint Sauveur, dont l’église est toute
proche, la charité !
Contusionnée, peut-être blessée, en tout cas furieuse et paniquée, la
dame renversée, bonne bourgeoise entre deux âges qui avait à faire, à
rendre une visite non loin de là, se tordit, tenta de se redresser – elle gisait
sur le flanc –, n’y réussit pas, voulut s’agripper, n’attrapa qu’un verre
fendu, s’y fit mal, se trouva nez à nez avec le mendiant qui s’adressait à
elle, vit avec horreur les bulles noirâtres qui salissaient ses lèvres, coulaient
sur son menton, ses guenilles. Dans un répugnant déluge de salive et
d’écume, l’homme répéta, cette fois sans trop chercher à cacher son
accent italien :
— La charité ! Pour Jésus et saint Sauveur !
Au prix d’un effort qui lui arracha un ahanement, la passagère plongea
dans sa bourse une main pressée, saisit quelques pièces, les jeta plus
qu’elle ne les tendit au mendiant repoussant. Elle cria, heureuse de
pouvoir crier. Elle avait été trop surprise par cet accident, elle avait mal à
l’épaule, à la jambe, elle avait peur. Il lui fallait hurler, appeler au secours.
L’accidentée voulait par-dessus tout que s’éloigne au plus vite ce mendiant
abject.
D’un geste vif, celui-ci saisit l’aumône lancée dans la fange, la fit
disparaître sous ses hardes. Le corps cassé par la maladie, il adressa un
salut grimaçant à celle qu’il avait fait choir pour en obtenir une aumône à
coup sûr, déguerpit sans plus attendre, laissant au valet de la femme
culbutée le soin de relever la vinaigrette, avec l’aide de deux ou trois
passants moins indifférents que d’autres.
Le gredin voûté bavait toujours, mais de moins en moins, ne s’en
souciait pas car il n’avait plus besoin d’effaroucher. Dans un instant, au
détour d’une ruelle, puis d’une autre, passé un porche, il serait à l’abri
d’un des repaires, comme il y en avait encore tant à Paris, une cour des
miracles que les gens de La Reynie n’avaient pas encore détruite. Une fois
de plus, il avait réussi son coup. Il savait vraiment y faire : un beau
morceau de savon à mâchonner pour bien saliver, faire peur, dégoûter et
dans le même temps apitoyer, un seau de bonne graisse déversé au bon
endroit et au bon moment pour faire glisser, de l’agilité et de la
détermination. Avec ce que lui avait lancé la femme tombée avec sa chaise
à porteurs, il avait de quoi voir venir. Jadis dessiné à Rome, le tatouage
qu’il portait sur le torse, une Vierge de Lorette, l’avait une nouvelle fois
aidé et soutenu. Une brave fille, cette mère de Dieu, songea le malfrat, le
mâcheur de savon, le « sabouleux ». Elle ne lui en voulait pas qu’il vole,
du moins qu’il manigance, effraie et extorque et, au contraire, le
protégeait. Une brave femme, vraiment. Du coup, le gueux se redressa car
sa bosse, comme sa bave, n’était que le résultat d’une supercherie. Et il
disparut.
9. Apparue au XVIIe siècle, sorte de chaise à porteurs munie de deux roues et qu’un seul homme
suffisait à manœuvrer.
Ailleurs à Paris
Le crapaud avait déjà les pattes liées. Or il ne s’avouait pas vaincu, tant
sa situation présente lui paraissait incongrue : que faisait-il loin de la boue
où il était venu au monde et qui lui convenait si bien ? Quoique entravées,
ses cuisses de sauteur étaient encore assez puissantes pour que l’animal, en
s’aidant aussi des muscles de son ventre, cherchât à échapper à son sort,
sans qu’il devinât que c’était la fin. La sorcière le rattrapa, se saisit de lui et
le fourra dans une cage si étroite que, de partout, le corps de la bête était
pressé contre les fins barreaux de fer et de bois. Furieux, peut-être effrayé,
le batracien se mit à baver.
— Crache, mon beau, crache, sue et pète, mais gardes-en, car tu n’es pas
sorti de tes peines, tu vas avoir encore bien des surprises, et des pas
drôles.
Madeleine Chappelain regarda autour d’elle. Elle cherchait le meilleur
endroit. Du côté des choux ? La terre, qu’elle avait retournée voici peu,
était certes meuble, y faire un trou aurait été aisé. Mais ce n’était pas là
qu’il y avait le plus de fourmis, l’emplacement n’était donc en rien le plus
indiqué, le travail escompté ne s’y ferait pas assez vite. La femme réfléchit,
mesura que, au milieu des coquelicots qui poussaient bien au chaud, à
l’abri d’un muret, était creusée une belle fourmilière. Là, elle enfouirait le
crapaud et la cage. En peu de temps, prévenus par l’odeur et les
gigotements du coasseur enterré, les insectes viendraient inspecter cette
proie dépourvue de défenses et la dévoreraient. Ensuite ramassés puis
réduits en poudre, leur acide mêlé au venin du batracien, les petits
carnivores constitueraient une substance très empoisonnante. Si la
préparation était bien faite, agrémentée d’une larme de miel pour masquer
le goût âcre de la fourmi, une simple pincée versée dans un bouillon
suffirait à expédier un gêneur dans l’autre monde. Et en tout, il y aurait là
de quoi tuer jusqu’à plusieurs dizaines de personnes. La poudre précieuse
assurerait le manger de la Chappelain pendant pas mal de temps.
Cela valait la peine, se dit celle-ci, de s’être donné du mal, d’attraper des
cals et des durillons à force de marcher, de s’être perdue là où elle ne se
rendait jamais, d’être allée attraper la bête visqueuse jusqu’au bord de la
Bièvre, sur l’autre rive de la Seine, au milieu des pestilences montées
depuis les bacs des teinturiers installés là.
Au même moment, à Saint-Germain
Among Strauss’ greatest works are his operas Electra, Salome and
Der Rosenkavalier and his nine tone poems. Despite all the harsh
things critics have said of him, Strauss has always maintained that,
although he did not write in accepted forms, he felt that the form
should always be suitable to the subject, for “as moods and ideas
change so must forms.” This, Ernest Newman said in defence of
Strauss, and it may be applied to all arts.
So Strauss is not formless but like Proteus, has many forms. Cecil
Gray said, “he seems to have an irresistible itch to provoke the
amazement and the horror of the multitude.” This is quite true,
especially in Salome, Electra and Der Rosenkavalier in which opera
he went back to Mozart form as a model. It seems incredible that a
man who could write the noble songs that he has written should have
chosen such unpleasant plots for his operas!
In Tod und Verklärung (Death and Transfiguration) he was
distinctly a follower of Liszt. His friend Alexander Ritter is said to
have written the poem after the music.
At the time that it was first played, it caused so much comment
that Strauss, like Browning, laughed at people for trying to “read”
more into it than he wrote. Browning was asked whether he meant a
certain thing in one of his poems, and his reply was something like
this: “Madam, I never thought of it, but if you think it is there, I am
more than glad to know it.”
His Don Juan is delightful, too, but his Til Eulenspiegel (1895)
which tells of the mischievous pranks of Til, is one of the finest
examples of humor in music and probably will outlive many works of
this modern period, his own as well as others. He wrote it in the form
of a classical Rondo, because he could picture Til’s ever recurring
deviltry and exploits in this form. Poor Strauss was reviled for this
daringly written music, too, yet this tone poem is an amazing piece of
work and was given gloriously as a ballet in New York City a few
years ago by Diaghilev’s Russian Ballet.
In Also Sprach Zarathustra (Thus Spake Zarathustra), Strauss
uses the idée fixe or leit-motif. This is based on a prose poem of
Nietzsche.
In Don Quixote he goes back to the form of the classical variation,
for it is an ingenious way of showing the varying sides of the
character of Don Quixote. Here he shows events and not ideas, a
most definite story in tones. You can almost see the attack on the
wind-mills and you can actually hear the sheep bleating, the church
music of passing pilgrims, and the love tale of Dulcinea. In this piece,
program music reaches its height.
In Ein Heldenleben (A Hero’s Life) (1898) Strauss frankly quotes
from his musical works. He does not have to prove that he is the
hero, for he admits it! When Strauss was asked what the poem
meant, he said, “There is no need of a program, it is enough to know
that there is a hero fighting his enemies.” In it, you can really hear
the carping critics, his retorts, the triumphs and the defeats. It is very
interesting and amazingly well written.
The Domestic Symphony (Sinfonia Domestica) is the story of a
family for one day. There is the father motif, the mother motif and
the baby motif! The final fugue represents education very aptly for
you get from it the sense of flight and struggle and the never
endingness of education.
One of his last works is The Alpine Symphony. His other works
include an early opera Feuersnoth, and his songs which are among
the greatest ever written by any composer, ranking him with Franz,
Schubert, Schumann, Brahms and Hugo Wolf.
Strauss shows in all his work great pictorial power. He paints in
tones if ever a man does. His humor in music is amazing. He tries to
make vivid in music a thing as simple as a fork and as complex as a
philosophic idea. Some one said of him, comparing him to Wagner,
that he started out to write symphonic poems and really wrote music
dramas, while Wagner started out to write music dramas and ended
by writing Tristan and Isolde, a super-symphonic poem with voices
added.
Richard Strauss is the last of the great German classic and
romantic composers who have ruled the musical world for the past
two centuries. Still living in Germany he has opened the way to many
of the younger composers, who have learned much from his methods
of orchestration and handling music in the large forms. While he
out-Wagnered Wagner in strange and new harmony, he now seems
old fashioned in comparison to Schoenberg, Stravinsky and
Honegger. Although Strauss seemed to us very complex and
exaggerated a few years ago, it was very interesting to notice that
when his works were revived in America after the War, the audiences
had grown up musically to the point where they seemed no longer
unintelligible or ultra-modern.
We remember when we were leaving the opera house after the first
performance of Salome in this country, hearing one ill bred,
untutored woman say, “Gee! Goit, but that was one big noise!” By
this time she has probably reached the point where she is jazzing the
Salome dance with real pleasure and understanding!
He did many unusual things with instruments, added many new
ones, and as someone said, he loves to have the “trombone play like a
piccolo!”
No one can say where Strauss will stand as a composer, for time
alone can place him. However, we make bold to state that he will
stand high in the company of the world’s composers.
Chabrier (1841–1894)
César Franck.
When Johannes was fifteen he gave his first public piano recital
and made a deep impression. It started him on the road to fame, for
he played so well that he was engaged to accompany the Gypsy
violinist, Remenyi, who played all over the world and became very
famous. Brahms went into many countries with him but never came
to America, where Remenyi was a great idol. Gypsy-like, he was
happy in his wanderings and when he was old went into vaudeville,
drawing thousands wherever he played. He was about to face one of
these immense audiences in San Francisco but drew only a few tones
from his beloved violin when his magic fingers were stilled in death!
Remenyi was a great influence in Brahms’ life, for it was through
him that Brahms became fascinated with the Gypsy Dances which
the composer gave the world as Hungarian Dances. He wrote them
for piano solos, duets and bits of them may be found all through
Brahms’ orchestral writings. This is folk music, even though it was
not the folk music of the country in which Brahms was born.
Another important thing that came into his life through Remenyi
was his meeting with Joachim, one of the greatest violinists and
teachers of the world. At a concert given by Remenyi when playing
the Kreutzer sonata of Beethoven the piano was tuned so low that
Brahms was compelled to transpose the entire piano part a semitone
(half-step) higher while playing it. Joachim who was in the audience
came behind the stage to congratulate the players, and gave Brahms
letters of introduction to Liszt, then at Weimar, and Schumann at
Düsseldorf. This visit led to Schumann’s article about him,
mentioned at the opening of this chapter.
Brahms and the Schumann’s
Although Brahms did not create any new forms, there are so many
different sides in his compositions, that it is hard to describe any one
in particular. He came into the world at the time when music was
turning toward the dramatic, because of Wagner’s influence. It
seemed that Brahms, himself, was afraid to hear Wagner, whose
work he admired. Brahms never wrote an opera and he never wrote
pictorial works such as tone poems. His writings were “absolute
music” that is, music in its purest form, neither imitating nor
representing anything but music. Here was Brahms between the tone
poems of Liszt, and the operas of Wagner, and he remained true to
pure music! It is said that Hans von Bülow invited him to attend the
first performance of Parsifal but he refused saying that he had a
dread of Wagnerians, (but not of Wagner)! Although Brahms wrote
when the romantic school was at its height, he brought back
classicism with a force that influenced the entire musical world. In
addition to the classic and romantic forms, many works are called
classic to distinguish them from popular music.
Brahms was of the peasant type, and honesty was one of his
strongest qualities. This honesty, sincerity and simplicity may be
found in every line of his music, which never has light or frothy
moments, and which shows everywhere that he loved Bach. He left a
large number of very great works. Indeed, one might study Brahms
for years and even then never know all he wrote.
He was the center of a group of song writers to whom he must have
been an inspiration and an example. His lyrical gift and form, which
mean that his songs almost sing themselves, was so great that it is
hard to understand how he could have written symphonies and
sonatas which, to many people, sound complex, thick and confused.
But many people, even good musicians feel this way about Brahms.
May we not believe that some day their ears will be opened to its
beauties and joys?
The song writers of this period were many as they are in all periods
in every country. Many write one or two songs that are lucky enough
to become popular, but this does not make a great composer, for the
great either bring something new into the world, or create music
which by its quality moves other people to write good and beautiful
music.
Song Writers