Back; — Azu, iikute-azu, s. Back to ; — Lia, lig-o, kwimyelu, nodolu; — Reculer; v. Backbone; — Okpukpii-azu, ukolokoto-azu ; — Epine dorsale; s. Backward; — Azu, n'azu; — Mou, peu actif; adj. Backwardness; — Iiia-azu; — Mollesse s. Baft; — Adja, akwa-adja; — Coutil gris; s. Bag; — Akpa, s. Tiiiye n'akpa, tepulu; v. Bagatelle; — Ife-aiiamar-afaya; — Bagatelle; s. Bake; — Glie, kpoiiye; — Cuire an four; v. Baker; — Ofirhe-ife, onye-olu og'heg'he; — Boulanger; s. Balance; — Xsi-ama, ama, ife-osisi; — Balance; 5. Bale; — Ukwu; — Ballot; s.
Baleful; — Di-ebele, di iwe; — Funeste; adj. Ball; — Okpulukpu, mgbo, s. Ballister; — Uta; — Balliste; s. Bamboo; — Ufolo, ngwo, og"ug"u; — Bambou; s. Bamboo-mat; — Akenye; — Natte de bambou; s. Bamboo-stick; — Osisi-ufolo; — Canne en bambou; 5. Bamboozle, — Laputa, lafu; — Duper; v. Banana; — Ogede, une, — Banane; s. Bandit; — Xg-amuzo, onye-mpum, agavu; — Banditi; s. Bandrol; — K wata-okonoko ; — Banderolles; 5. Bandy; — Nkulu; — Crosse; s. Bandylegged, — Ukwu-olugha; — Boiteux; adj. Baneful; — Di-ndjo; — Pestilentiel; adj. Bang; — Ti, ti-ikpa, ti-okpo, v. Coup de massue; 5. Banian; — Afe-ntutu; — Robe de chambre; s.
Ban — Bar Bank; — Ulbom, ikpele-mili; — Eive, bord; s. Banquet; — Nukwu olili, olili, s. Banter; — Kpa-amu, mu-amu; — Se moquer; v. Barb; — Kopu-afu-oim; — Raser; v. Barbarian; — Madu-ofya, onye afo-ndjo; — Barbare; adj. Barbarie; — Dika-madii-ofya; — Barbare; s. Barbarity; — Afo-ndjo; — Barbarie; s. Barbarize; — Do-madii-ofya; — Agir en barbare; v, n.
Barbarous; — Di-afo-ndjo; — Barbare, cruel; adj. Barber; — Oko-afo-onu, oko-isi; — Barbier; s. Bard; — Okwa-abu; — Barde; s. Barefoot; — Ukwu-nkiti; — Nu-pieds; adj. Barque; — Ug'bo; — Barque; s. Barrack; — Uno ndi-ag'ha; — Caserne; s. Barrel; — Ag-badi, obele-poni; — Barril; s. Base; — Aiii, iito-aiii; — Fondement; 5. Bashful; — Di-ifele, di-iru-ani; — Timide; adj. Basin; — Odig"ili, afele-okoiig'wu ; — Bassin; s.
Basis; — Ani, nto-ani; — Base; s. Bask; — Xya-oku, iiya-awu; — Chauffer; v. Basket; — Ukpii, nkata; — Panier; s. Bat; — Usu, ngaisu; — Chauve-souris; s. Bateau; — Ug'bo-nfe; — Bateau; s. Bath; — Ebe hvu-ani; — Bain, baignoire; s. Bathing; — Iwii-aru; — Bain; 5. Battalion; — Oim-ag-lia, oiiu-og'u; — Bataillon; s. Batten; — Zuiiye-abala, zuiiye-maiiii ; — Engraisser; v.
Battle; — Og-u, ag'ha; — Bataille; s. Battle-array; — Onodu-og'u, onodu-ajrlia; — Ordre de bataille; s. Bawl; — Kpo, kpotu, kpoiikpu; — Brailler, crier; v. Bay; — 31banye-mili; — Baie; s. Bay; — Gbo, grbo-udja; — Aboyer; v.
Full text of "Syriac-French-English-Arabic-Dictionary"
Baying; — Udja, ug-bo-udja, — Aboiement; s. Bayonet; — Ofalagrada, opalag'ada; — Bayonnette; s. Bazaar; — Afya, ebe-afya; — Bazar; 5. Be; — Bu, di na, do; — Etre; v. Bead; — 3Ikpilife; — Grain; 5. Beak; — Ouu-iiuuim; — Bec; s. Bea— Bed 23 Beaker; — Iko, akala-aka, iko-mili; — Gobelet, tasse; s. Beam; — Og'we, iifyeg"e; — Poutre; s. Bear; — Bulu; — Porter; v. Beare; — Obu-ibu; — Porteur; s. Beard; — Afu, afu-oim; — Barbe; s — I o n'afu-oiiu; — Se faire la barbe, se raser; v. Beardless; — Enwe-afu-oiiu; — Imberbe; adj. Bearer; — Oiiye-ibu, obu-ibu; — Porteiu"; s.
Bearing; — Omeme, ainala; — Maintien; s. Beastly; — Dika-aiiu, dika-anu-ofya; — Bestialement; adv. Beat; — Ti, su mekali, mell; — Battre, frapper; v. Beating; — Otiti, opipya; — Coups; s. Beautiless; — Amamma; — Disgracieux; adj. Bechance; — Me, da; — Arriver; v. Beck; — Ife-aka; — Signe; s. Becoming to be ; — Kwesi; — Convenir: Bed; — Akwa, ute; — Lit, couchette; s. Bed; — Nibe n'akwa; — Couclier; v. Bedaggle; — Meto, g'we; — Crotter; v. Bedash; — Fele, kwole; — Eclabousser; v. Bedaub; — Fe, le, no; — Souiller; v. Bedeck; — Dokwa, djikwa; — Parer; v. Bedew; — riidu, la-idjilig: Bed-fellow; — Oiiye-edina; — Compagne; s.
Bedlam; — Uno-iidi-ala; — Maison de fous. Bedlamite; — Onye-ala, onye-nsokwu; — Fou, folle; s. Bedraggle; — Meto; — Crotter; v. Bedrench; — Fiitube; — Tremper; v. Bedrop; — Feimsa, g-baiiusa; — Arroser; v. Bed-time; — Ekpo imaba; — Heure du coucher. Bed-ward; — Do-akakpo, iiara-uso; — Garder le lit. Bee; — Ainvu; — Abeille; s. Bee-hive; — Uno-awu; — Rucher; s. Bees-wax; — Akpaka-awu; — Miel, cire; 5. Befall; — Kwudo, me; — Arriver; v. Befitting; To be — Tiilu; — Eti-e convenable; v. Befool; — Lafu, nufu; — Tromj er; v. Before-hand; — Biilu, do affix ; — D'avance; adv. Befoul; — Meto, mebi, lu-inyi; — Souiller; v.
Befriend; — ]N"wii-oyi; — Favoriser; v. Beg; — Yo, yo-ayoyo, kpelii; — Demander; v. Beget; — Mu, muta; — Engendrer; v. Beggar; — Onye-ayoyo, onye-e? Begging; — Ayoyo, iyo-ayoyo; — Action de demander. Begird; — Nofe, nobido, norube, kebido; — Cerner; v. Beguile; — Lalu, laputa; — Tromper; v.
Behave; — Me, me-omeme; — Faire, agir; v. Behest i — Ozi, iwu; — Ordre, message; s. Behold; — Tu, ne, nene, kili; — Eegarder; v. Beholder; — Okili, one, onye-nkili; — Spectateur; s. Behoove; — Kwesi, tu, tulu; — Importer; v. Being; — Idi-ndu, ife-di-ndu; — Existence; s. Belabour; — Ti, pya, dju; — Battre; v.
Belch; — Du-nkolo; — Vomir; v. Belfry; — Uno-mg-biliba ; — Clocher; s. Belief; — Okukwe, ife-ekwelu; — Foi, croyance; s. Believe; — Kwe, kwelu; — Croire; v. Bell; — Mg-bilig-ba, agrog-o, ogrene; — Cloche; s. Bell-founder; — Uzu-mg-biligrba, uzu-og-ene; — Fondeur de cloches. Bellow; — Be, mokpo; — Beugler; v. Bellows; — Eko; — Soufflet de forge; s. Bell-pull; — Udomg-biliba; — Corde de la cloche; s. Belly; — Afo; — Ventre; 5.
Belly to ; — Tepulu; — Enfler; v. Belong; — Dili; — Appartenir; v. Belt; — Adji, adji-akpukpo; — Ceinture; s. Bemire; — I a n'apiti, kputo n'apiti; — S'embourber; v. Benefaction; — Afomma, amala, imii-amala; — Bienfait; s. Benefactor; — Oiiye-afo-mma, ome-amala; — Bienfaiteur; s. Beneficent; Di-atb-mma, di-aiuala; — Bienfaisant; adj. Beneficial; — Di-elele, di-ulu; — Avantageux; adj. Benefit; — Elele, ulii; — Avantage; s.
Benevolent; — Di-afomma, di-oM-omma; — Bienveillant; adj. Benight; — Bjibido, djiiiari; — Obscurcir; v. Benign; — Di-afomma, di-amala; — Clement; adj. Benumb; — Me dika-alo; — Engourdir; v. Bereavement; — Oiiala, hvenalu, iimveiialu; — Privation; s. Beseech; — Yo, kpelu; — Supplier; v. Beseem; — Kwesi, tosi, fulu; — Convenir; v. Beseeming; — Nkwesi, otito, nfulu; — Convenance; s. Beseemly; — Tosili-etosi, fulu-efulii; — Convenablement; adv.
Besmear; — Te, no; — Tacher, souiller; v. Besom; — Oke-akpa, aziza-ilo; — Balai;. Bespeak; — Kwubulu; — Commander; v. Best; — Kasimma, makalisili, — Meilleur; adj. Bestial; — Di-iuyi, dika-aiiu; — Bestial; adj. Ees— Bid 27 Eestow; — Nye, tukwasi, mabiinye; — Accorder; v. Bestrew; — Kpasa, fesa; — Semer; v. Bet; — Onwu, inwii; — Pari: Betake; — Dje, djekwu; — S'adonner; v, n.
Betimes; — Gbo, iia g-bo, iia ama; — A temps; adv. Betoken; — Grosi, meka-amalu; — Annoncer; v, a. Betray; — Gba, kpo-ama, g"hog"bu; — Trahir; v. Betrayal; — Ig-ba-ama, ngliog'bu; — Trahison; s. Betroth; — Kedi, kewimye; — Fiancer; v. Better; — Ka-iima; — Mieux; adv. Bettor; — Onye-nzo; — Parieur; s. Between; — N'etiti, ii'ag-bata; — Entre; jor. Beverage; — Ife-olala, maiiya; — Breuvage; s.
Bewilder; — Ti, tima, g-bag-hali; — Egarer; v. Bewitch; — Kumi, ta-amusu; — Charmer; v. Beyond; — X'iifesi, g'hag'a, g"afe, feg'a; — Au loin; jorep. Biangular; — Di-nkukii-nabo ; — A double tranchant. Bibber; — Ola-maiiya, olaka-maiiya; — Biberon; s. Bible; — Akiikwo-nso; — Bible; s. Bicker; — Obambo, doiido; — Se quereller; n. Bickering; — Ndoiido, okembo, nibo; — Querelle; 5. Bidding; — Ikpo-oku; — Commandement; s. Bide; — Bi, bili; — Demeurer; v. Biennial; — Kwa-aro-nabo ; — Biennal; ddj. Bifold; — Xmadji-iiabo, uzo-iiabo; — A double voie. Biform; — Di iru-nabo; — Biforme; adj.
Big; — Niikii, iikwu di-ime; — Gros, large; adj. Bigness; — Okpi, iiukwu; — Grosseur; s. Bilboes; — Ijara-ukwu; — Menottes; 5. Bile; — Oiumu; — Bile; s. Bilk; — Lafu, meg"bii, g-holu; — Frustrer; v. Bill; — Me-imi-onu; — Se becqueter; v. Billow; — Akpoli; — Lame, vague; s. Billow; — Ma, tu, di k'akpoli; — Se soulever; v. Bimanous; — Di-aka-iiabo, inve-aka-nalt 0 ; — Bimane; adj. Bin; — Akpati; — Coffre, cuve; s.
Binary; — Di-ebwa; — Binaire; adj. Bindi — Fye, ke, fyedo, kedo, fyebe, djide; — Lier; v. Binder; — Oiiye-iiakAvako-akiikwo ; — Relieur; s. Binocular; — Di-anya-iiabo; — Qui a deux yeux. Bipartite; — Di-ibe-iiabo; — Qui se divise en deux. Bipartition; — Idi-ibe-nabo; — Bipartition; s.
Bipennate; — Di-iiku-nabo ; — Qui a deux ailes. Bird-lime; — Esc; — Glu; s. Birtli; — Omumn, omiimu-niva; — Naissance; s. Birth-day; — Ubosi-omumu; — Jour de naissance. Birth-place; — Ebe-oinumu; — Lieu de naissance. Bisect; — Ke-ebwa, be-ibe-nabo ; — Couper en deux; va. Bit; — Ibe-ara, mkpilikpi ; — Bout; s. Bitch; — Nkita, iiwunje-nkita; — Chienne; s. Bite; — Ta; — Mordre; v. Bite; — Alu; — Morsure; s. Biter; — Ota-alu; — Qui mord; adj. Biting; — Ifenata-alu, ifenata-ata; Morsure; s.
Bitter; — Di-inu; — Amer; adj. Bitterish; — Di-nwa-inu; — Aigrelet; adj. Bitterness; — Inu, iuu-iiiu, idi-inu; — Amertume; s. Blab; — Si, siasi, sifulifuli, kwu-ile-nfenfe ; — Bavarder; v. Black; — Odji, di-odji; — Noir; adj. Blacken; — Sidji, nudji, kwolo; — Noircir; v. Black-guard; — Akala-okoli; — Polisson; s.
Blackness; — Ndji, odji, idi-odji; — Noirceur; s. Black-smith; — Uzu, odjog'wii; — Forgeron; s. Bladder; — Akpamyamili ; — Vessie; s. Blain; — Atu, oke-atu, oke-iso; — Pustules; s. Blameworthy; — Kwesi-iita; — Digne de bhlme. Bland; — Di-nwayo; — Doux; adj. Blasphemy; — Okwii-nso, okwu-alu; — Blaspheme; s.
Blast; — Ikiiku, ifufe, oke-ifufe; — Souffle; s. Blazon; — xosi, g'basa; — Divulguer; v. Bleakly; — N'oyi; — Froidement; adv. Bleakness; — Ojrhe, oyi, iitumoyi; — Froidure; s. Blemish; — Olu, atutii; — Tache; s. Blench; — Ze, zelu; — Tressaillir; v. Blight; — Mmebi; — Rouille; s. Blind; — Gbodo, g'bo?
La sélection romance : c'est le moment de commencer une belle histoire
BUndfold; — Kpudo-aiiya; — Bander les yeux; v. Blinkard; — Oiiye-isi, onye-aiiya-ufye; — Celui qui clignote; s. Blister; — Esoso, atii, oke-iso; — Pustule; s. Blobber; — Ufufu; — Globule; 5. Blockade; — Xnofe, nniakpo; — Blocus; s. Bloom; — Ra-ifulu; — Fleurir; v. Blot; — Ntupo, ife-ifele; — Tache; s. Blotch; — Oke-iso, oke-atii; — Tache; s. Blow; — Ku, fu, fe; — Souffler, venter; v.
Blowth; — Ifulu, ifulu-osisi; — Fleur; s. Blue; — Ag'olo, di-ag-olo; — Bleu; adj. Blunderbuss; — Obele-og-bondu, iikenke-og'bondu; — Espingole; s. Blunderer; — Onye-nkwukwu, onye-nsokwu ; — Brouillon; s. Bluntly; — ]N'a nkpu, nkpu; — Brusquement; adv. Bluntness; — Nkpu, adi-nko; — Bmsquerie; s.
Blur; — Atutu, ntupo, nmeto; — Tache, rature; 5. Blush; — Ifele, ime-ifele; — Rougeur; s. Bluster; — Mba, mkpotu, inyaisi; — Bruit; s. Boa; — Eke; — Boa, pithon: Boasting; — Inya-isi; — Jactance; 5. Boastingly; — N'inya-isi; — Orgueilleusement; adv. Boatman; — Madu-ug"bo; — Batelier; s. Bodied; — IS'welu-arii ; — Gros; adj.
Bodily; — N'aru; — Corporel; adj. Boil; — Oke-iso, oke-atu; — Furoncle; s. Boil; — Gbo, si; — Bouillir; v. Boiler; — Ite-oku, ite; — Bouilloire; s. Bold; — Di-ika-aiiya; — Hardi; adj. BoU; — Oko; — Capsule; s. Bolster; — AJozi; — Traversin; 5. Bondage; — Ndji, iiiona-oru; — Action de lier; s. Bond-man; — Oru-iiwoke, odibo-nwoke; — Domestique, esclave; 5.
Bond-servant; — Cru, odibo; — Domestique; s. Bon — Bou 33 Bondsman; — Oru-nwoke, odibo-nwoke ; — Caution; s. Bone; — Okpukpu; — Os, ossements; s. Bone-setter; — Dibya-okpukpu; — Rebouteur; 5. Bonmot; — Ikpa-amu; — Mot pour rire; 5.
Bonnet; — Okpu, okpu-umu-nwanyi, okpu-ikporo; — Bonnet; s. Bonus; — Elele; — Gain, profit; s. Bony; — Di-okpukpii, so-okpvikpu; — Osseux; adj. Book; — Akiikwo; — Livre, papier; s. Book-binder; — Okwa-akukwo; — Relieur; s. Book-case; — Akpati-akiikwo ; — Bureau, casier; s. Boon; — Di-afo-mma; — Bienfaisant; adj. Boor; — Akala-og"oli ; — Rustre; adj. Boot; — Elele; — Gain, profit; 5. Bootless; — Eloelo, abana-ife; — Vain, futile; adj. Border; — Uso, ikpele, onunii; — Bord, confins; s. Borderer; — Onye-uso; — Riverain; s. Borrow; — ZI, zili; — Emprunter; v. Borrower; — Onye-ozizi; — Emprunteur; s.
Bosom; — OM; — Sein; s. Boss; — Akpu, akputiikpu; — Bosse, bossette; s. Bossy; — Di-akpu, di-akputukpii ; — Bossu, saillant; adj. Bottle; — Onono, kalamam; — Bouteille; s. Bottom; — Ani, okpiilii, oru-aiii; — Fond, Base; s. Bottomless; — Euwe-ani, di-enwe-aiii; — Sans fond; adj. Bough; — Xgadaba, aka-osisi; — Rameau, branche; s. Bounce; — Ikpo-ntu, omama; — Fracas; s.
Bound; — Do-ajirbata; — Bondir; v. Boundary; — Oke, isi-aiii; — Limite, borne; s. Bouquet; — ykeke-ifulu ; — Bouquet; s. Bourn; — Oke, isi-iidjedebe; — Borne; v. Bow; — Rulu, biibe; — Courber, plier; v. Bowels; — Afo, nsrili-afo; — Entrailles; s.
Bowl; — Okwa; — Coupe, tasse; s. Bow-man; — Onye-uta, oiiye-oim-ug'bo; — Premier rameur; 5. Box; — Akpati, ikpa, okpo; — Boite; s. Box; — Tinye n'akpati, ti-ikpa; — Mettre dans une boite; v. Boxer; — Oti-okpo; — Boxeur; s. Boy-hood; — Nwata, nwa; — Enfance; s. Boyish; — Dika-invata-iiwoke ; — Enfantin; adj. Boyishness; — Imekaiiwata-iiwoke ; — Enf antillag'e ; s. Brace; — Elili, iiza; — Lien, couple, paire; s.
Bracelet; — Odu-aka, ouaka, iidjaka; — Bracelet; s. Bracket; — Obele nza, nza; — Crochet; s. Brag; — Inya-isi; — Jactance; s. Braggard; — Oiiye-onu; — Vantard; 5. Braid; — Udo; — Tresse; s. Brain; — Ubulu; — Cerveau; s. Bramble; — Ng'aiig'a; — Ronce; s. Bramble-bush ; — Ofya, obele-ofya; — Broussailles; s. Bran-new; — Xnuf'ii, ofui'u-ofuru ; — Tout neuf; adj. Bra — Bre 35 Branchlet; — Ngradaba nta, obele ngradaba, anaka; — Eameau; s. Brand; — Oiioko; — Brandon; s. Brandish; — Fe, ferube; — Brandir; v. Brangle; — Ko-oiiu, se-oku; — Disputer, palabrer; v.
Brasier; — Uzu-oiia; — Brasier; s. Brass; — Ona; — Cuivre jaune; s. Brass-visaged ; — Emve-ifele, edji-ifele; — Impassible, serein; adj. Brassy; — Dik'ona; — D'airain; adj. Bravado; — Oiiye-iiiya-isi ; — Vantard; s. Brave; — Di-dike, di-ile; — Brave; adj. Bravely; — IS'a dika; — Bravement; adv. Bravery; — Idi-ike, Idi-ile; — Bravoure; s. Brawl; — Akomonu, mkpotu; — Bruit; s. Brawler; — Onye-mkpotu, oko-onii; — Brailleur; 5. Brawn; — Anu-ezi; — Jjard, chair de porc; s. Braze; — Kpu-ona; — Souder; v. Breaker; — Otiwa, otikpo, okwuta; — Celui qui brise; 5.
Breakfast; — Azi-ututu; ig"ba-azi-ututu ; — Repas du matin; s. Breast; — Ala, obi; — Poitrine; s. Breathe; — Ku-ume, di-ndu; — Respirer; v. Breathing; — Iku-ume; — Respiration; s. Breeder; — Onye-zuluozulu, ouye-azu; — Eleveur; s. The initially sensuous impulses at the beginning of a marriage had turned into mere affection. All the hypostases of love can be found in the life of the heroes in The Trilogy. They leave it and return when they are abandoned, humiliated or miserable as if it were a refuge.
The feeling of love remains unavowed, it is a well-kept secret which the majority dare dream of only in the privacy of darkness. Whenever their secret is exposed, panic intervenes, hearts and voices are silenced and love either dies out or survives in a contorted or concealed form. Perhaps the causes of disappointment and suffering out of love that burden the heroes of The Trilogy seem somehow insignificant when compared to the great social issues and problems facing Egypt at that time and thus the consequences also lack proportion as to the causes bringing them about, but the perception of love and the attitude toward this feeling and toward the relations between men and women in general have much evolved from one generation to another in The Trilogy in a relatively short but full of essential social changes historical period.
His feelings do not observe social, class and rank-related conventions, claims nothing actually, no reward from the loved one. He admits that an extraordinary power beyond his will attracts him to the person he loves, for whom he nurtures a feeling of adoration. The world changes in the presence of the person he loves, turning into a paradise depicted in those figures of style recalling the Arabic classic poetry: Even his declaration of love seems strange: His adoration is also matched by consuming suffering.
Perfectly aware of the worth of his love, Kamal would tell himself: The love for his goddess remains a precious thing to him, a source of torture but also of refuge, since he will not find the answer to everything until the day he meets his Maker Qasr esh- Shawq, II, To him, love was nothing but blind lust; he knew it under no other form Bayna el- Qasrein, I, Indeed she is only a woman… Any woman is a foul curse… Bayna el-Qasrein, I, Suffering makes him ruthless toward the trouble and errors of others but very lenient toward his own.
Yasin cannot even explain his desires away, being permanently tempted to lay the burden of responsibility for all the trouble, scandals and failures suffered by him on the shoulders of those around him. His brother Kamal also admits regretfully that "Yasin is dominated by instincts and has no noble feelings of any kind" Qasr esh- Shawq, I, The love of the heroes in The Trilogy evolves unexpectedly for the reader, and so does their fate in general, but regardless of the fact that some remain almost consistent, like Yasin, or are transformed, like Aisha, Aida, Budur or Amina, changing their character, attitudes and perceptions of love and life to the point of becoming unrecognisable, while others such as Ridwad and Muhammad easily fall into temptation leading them to situations of crisis, the feelings of most of them illustrate one or even several hypostases of love, revealing authentic, convincing torments, experiences, suffering and joy to the smallest detail.
Leeuwen, Richard von, , Love and the mechanisms of Power: A Study in Semantics , new edition Sapir also considers the domain of feelings, which he mentions in connection with antonym pairs such as friendly: To establish degrees in the way we love is yet another problem: Nonetheless, he was able to find evidence of a graded scale of these varieties, expressed by means of words that form a distinct class of quasi-synonyms. This conclusion leads him to support the benefit of componential analysis for an accurate definition and disambiguation of synonyms according to their specific semantic features.
Thus, beside quantity as such, the gradable feature may refer to various aspects of reality: It seems essential therefore to establish what exactly are the aspects that can be viewed as graded, as far as love is concerned. The chapter narrates the meeting of a large number of scholars under the auspices of the vizier Yahya bin Khalid al-Barmaki, a protector of arts and humanities in the Abbasid Empire.
All these are verbs of movement and progress, denoting a process and suggesting a sudden start like rainfall , and a timeline development. Among the terms registered in classical Arabic texts, some refer to the onset of love, others to the extreme point. They may be categorized as follows: Hubb is considered a continuous state of purity connected to the faith in God. After studying a text by Al-Jahiz, A. Le hubb constitue donc la mesure, le juste milieu et la perfection. The average value is therefore mentioned more as a point of reference for an excessive form of love, described in much more detail, which reflects the general normative and pedagogical tendency of the texts.
The means for expressing the extreme character of love and its negative consequences are numerous, reflecting the rich modalities available in Arabic for rendering emphatic meanings. The extreme aspect of love, in terms of intensity, is generally associated with pain, uncomfortable states of the body and mind, illness, and death. Thus, beside the above-mentioned English translation of the verb shaghafa by Hans Wehr, other languages also mark by means of different intensifiers the extreme manifestation of that particular variety of love, shaghaf: This is considered by Ibn Hazm the fifth and highest level of intensity that love can reach: Thus, the most extreme varieties of love, in terms of intensity, are likened to: Siauve, Paris-Lille, Librairie philosophique J.
Soyez heureuses et jouissantes par lui et pour lui! On sait bien que le mot jihad est traduit au moins dans les sens de: Riad El-Rayyes Books Ltd. Halaby, Omar, , The philosophical, religious and moral premises and principles of a particular cultural area are also made visible through the specific encoding of the sexual excitement, through the way the practices and representations of the body are made erotic.
In order to have an erotic image, attitude or description working efficiently, the compatibility with the representative social and daily imageries of that cultural epoch is compulsory. The ideologies and the way they reverberate infiltrate in the mentalities and the sexual practices which are characteristic to different epochs and cultural areas. Placed on an opposition axis with the pornography, the eroticism refers to those forms of sexual description in which the relationship between the participant subjects in the sexual intercourse is based on the reciprocal respect regarding the desires, the feelings, the experiences of each other through the recognition and affirmation of the dignity, personality and autonomy of those involved.
Even when the pornography exhibits as a main sexual object children, men or animals, it follows the same paradigm: Theoretically, taking into consideration the above definitions, the Indian medieval sculptures and paintings can be easily classified as pornographic representations.
Still, the ideological differences between Tantrism, the dominant religious trend of the Indian Middle Ages, and the Western cultural horizon do not allow us to circumscribe this art to the sphere of pornography. In this light, the union between man and woman maithuna is regarded as a sacred act involving the physical, sexual stage, as well as the mere symbolic and mental stage: In this context, the sexual intercourse represents a sacred act as it does not involve two limited individuals, with their egos, their conditioning and little universes, but it involves the God and the Goddess which are present in their body and human beings.
An experience similar with the enlightenment, in the sense that, during the samadhi, the individual becomes one with the Absolute, with the Supreme Being, breaking its own limits, isolation and autonomy. The momentary abolishment of the individuality is associated with a deep feeling of going out of time: It is all about an experience in search of the deep Self that provokes the human being in its integrality.
This union is compulsory to the realization of the paradise consciousness. The tantric psycho-physiologic and contemplative techniques aim at transforming those very few moments of ecstatic experience attained through sexual intercourse into a permanent state.
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Thus, there is a permanent preoccupation for the amplifying, the elevation and the control of the sexual energy that is systematically directed towards inside, avoiding its wasting through explosive orgasms. The sexual continence accounts for the fact that such an ideology was not meant to justify the indulgement into animalic acts, but the adoption of a genuine mystic attitude, a real and effective modality of personal transformation.
This ideology of Tantrism, whose guidelines I have just presented in short, as well as the Shakta and Pashupata cults of Shaivism, in which sex was also glorified, dominated the philosophical and religious life of Indian Middle Ages and consequently made possible the emergence of a renaissance in erotic art and literature, starting from the tenth to twelfth centuries and on until the sixteenth century.
It was during this period that the temples of Bhubaneshwar and Konarak in Orissa and those of the Chandella rulers in Khajuraho, central India, were built and embellished with sculptures of beautiful women and couples in amorous poses. The spread of tantric practices among the rulers and aristocracy explains the adoption of erotic motifs in the sculptures of medieval temples Bach, , page These temples are decorated on their external walls with erotic, sensual sculptures of refined, gracious women-dancers named devadasi as apsaras feminine deities associated with water able to change their form in order to seduce the ascets.
But taking into consideration the approach towards body and sex the religious practitioner might have had at that time while going to the temple, it comes difficult for us to state whether these sculptures were having the role of a test, of a prelude to what was going to happen inside or the role of a visual initiation. Most of the researches and studies written so far show the option for the first alternative: So, I incline to think of the test role of these erotic sculptures as mere speculation and give more validity to the second and third readings.
Moreover, the tantric initiation seems to say that the complete knowledge and assumption of the body condition is the way to transcendence: Sexuality is a challenge and a tool able to elevate a person in the heart of the sacred. The expression on the faces of these statues which is also to be analysed when it comes to any pornographic phenomenon suggest the experience of a serene sacrality, a vibrant ecstatic inner feeling. On the other hand, the sanctuary, as a sacred Mountain, as a representation of the world, confers symbolical meanings to various sexual positions and tantric attitudes; each position has to activate a certain energetic centre chakra and illustrates a certain level of the manifestation.
In the way the tantric system has taken advantages of an intentional, secret, obscure language, of a language with various meanings, through which a mystical state of the consciousness is expressed through an erotic term, and the mythological or cosmological terminology has codified yoga or sexual experiences, in the same way the sculptural representations could express in a metaphorical manner a range of transsexual meanings, referring to the specific nature of the numerous ontological levels of the creation.
Turning our attention to the contemporary meanings of pornography, there might be observed the creation of an experience of corporeality, which is marked by a rude realism. The representations of the pornography constitute a scrupulous, unemotional and naturalist materialisation of the individuals reduced to their bodies, their bodies being reduced to the instruments, and the latters being reduced to their functionality. The body becomes a pure object, it becomes a material that is put to the conventional sexual use, and which is turned in an ephemeral way to good account, through its capacity to speculate and treat efficiently its sexual functionality, ignoring the fact that the latter does need the exacerbation of the animal and bestial nature of the man, or of the reactive-involuntary path in him.
In the pornographic image, the woman is paid, rewarded for the absence of her own personality in it; the consumers do express their desire and need to participate in the exhibition of a body that would be nothing else but this body; the masking of the individual, the eradication of any sign of his presence in the body is realized with a maximum of exactness.
The body becomes a product pointing towards the stimulation of both the fascination and disgust, in an ambiguous manner; its vendibility depends on the capacity permanently to overbid the norms of its own imagination. Thus, in pornography, satisfaction is given by the delusive picture of a sexuality without failures, which is scrupulously demonstrated through a series of professional unions, positions and techniques, and exemplification of simulated results. At any rate, today, through the pornographic industry there is desperately expressed an animal will, a need for radicalisation and sharp separation between the body and spirit.
The existence of pornography is possible only in the realm of a manichean culture, hostile to the recognition of the sacred potential of the mundane realm, or only in the mind obsessed with the dichotomies. The body is not anymore considered demonic, but functional; the benefit of eroticism is maintained within the limits of the psycho-physiology, the sexual pleasure being subjected to the more ample regulations of the rationalist scientific discourse that is too much commercial, too much technologized, thus making the persons more passive and making their reactions automatic.
The contemporary pretensions for exhaustive knowledge of sexuality, integrated into a materialist logic, is at its turn a form of de-sacralization, of de-mystifying the sexuality, it is a way of keeping at a distance the body and the sex, on a plea of the exigency of the scientific methodology that treats the object as being passive, inert, identical with himself, during its observation by an individual.
The sexuality in the tantric systems cannot be interpreted in the terms of the power relationship; the aim is to attain the state of divine grace, which means the abolition of the individuality and of the inner unification, the source generating the beatitude being identified neither in the partner that would lead to the affection, aggression, jealousy and treatment of the other as a property subjected to the human need of possessing the object of pleasure nor in the bodily hormonal reactions, but in the rediscovery of the Self by reaching the integral character of the being.
The fact that the stress is not laid on the strategies of the consolidation of the ego, but on the cooperation and communion, on the spontaneous and free expression of the sexuality, does explain the affirmation and cultivation of the model of dyonisiac, active, resourceful woman and of the woman of initiative. The approval and relaxation before the unforeseeable nature of the sexual manifestations are necessary to the prevention of inner splitting up and pacification, of putting to silence of the mundane conscience, all these being the preconditions to the creation of the mental transparency destined to the perception of the reflection of the ego.
In this context, erotic making of equality does not depolarise, does not weaken the beneficent tension between the sexes, since the powerfully sexualised and gendered roles are maintained, but practised under the sign of the game and alternated according to the esoteric practices.
In conclusion, in the tantric systems the sexual pleasures are transfigured, exploited and taken over in the economy of salvation according to the principle: The tantric system seizes upon the sexuality for plunging into the very core of the immediate reality, according to the principle: The pornographic sexuality aims at drawing a parallel and autonomous universe, which is intensely ritualised. The industrial sex is not only a practice or a set of practices to which there are associated the ideas, representations, airy visions, but a world in itself; the contemporary pornography is detached from the society, not claiming to reflect it or to correspond to it; in turn, it expresses a preference for the life in the imaginary world.
Though unreal, the pornographic construction does penetrate and condition the social life. This could be the main advantage of this turning to the Indian time and space of the 10 thth centuries. The same sexual position could lose its shameful meanings if it is perceived in different ideological contexts; the stigmatisation of a sexual practice in itself as being degrading could be only an absolutist approach caused by the remanence of a manichean, profane vision on sexuality. Thus, the solution resulting from this approach lies in the attempt of a religious integration of body and sexuality, of their re-binding to the sacred realm, so as they would not have been treated as harmful instruments of degradation and de- humanisation.
This would be the advantage of this sight in time to the East: Most of them agree on the tantric ideology, but condemn the practices. Some of them, like Medical Science Enlightened: Anand, Mulk Raj, s. The field research is sustained also by historical data based on the study of archive documents and history books. Up to a high degree of similarity, all traditional cultures forbid the free love between men and women, as being a danger for the community and a deviance from the recognized pattern of identity. On the other side, they praise the love between parents and children and between brothers and sisters.
Love for the Divine came later, in the context of Christianity, before that the relationship with God being one lead by worship and fear. If the customary laws make clear the rules to be followed and the punishments in case of breaking these rules, traditional cultures, foreseeing possible deviances from the recognized codes, display a whole range of reparatory rituals, meant to make the family and community go on with their normal lives, surpassing the temporary disturbance.
After being more or less symbolically punished, the individual who broke the rules becomes the subject of complex rituals of reparation meant to re-include him into community. Of course, his social status has to suffer limitations and decreasing, but the main aim is that of inclusion instead of providing a dangerous enemy for the community. Any lost individual is an important loss for the traditional community, because it breaks its balance, so, for the sake of balance, communities have to include good and wrong, the second one being accordingly punished and, at the same time, repaired.
In case of folklore, traditional culture is equal and consistent with itself, so this free love leads, in majority of situations, to tragic consequences for both sides, in a way or another. The Rroma traditional culture follows the same pattern: For more than five centuries, the Rroma were slaves in Romanian Countries, so they were not considered human beings, but exchange objects, out of any social structure see also Achim, , Rroma women were used as pleasure objects; they were raped by their masters, being them land lords or even monks: Rroma girls were taken away form their parents and offered, as pleasure instruments, by their masters to their guests.
As a consequence of this situation, many times, the first born child was from the master and not from the husband. This view was accompanied by a lot of interdictions and behavior rules for women, meant to preserve the purity of the community as a whole. Actually, between husband and wife, love is not a romantic feeling of passion and pleasure, but it is the embodiment of pakiv respect, trust, faith, honor, honesty , meaning also responsibility, preservation of purity and commitment towards family and community.
Only by marriage the individual becomes a part of the collective code of honor: To be a real person means to be married; traditionally, bachelors have no right to build up a tent or a house. The recognition of marriage by the community is indispensable for the couple, because it ensures their status and brings luck. In modern cultures, that lost the balance between the individual and the collective soul, these tendencies are left to the hazard, physical relationship between boys and girls, which can be seen as uncontrolled marriage, anyway take place at these ages, but they are not known and recognized by the community.
On the contrary, traditional cultures focus on the whole and less on the part, so the narrow individual interest is replaced by the community good: If a girl does not marry in her time, she is considered mahrime impure , due to possible sexual relationship before marriage, or belonging to a family which was declared impure and excluded from the community.
There are many rituals and taboos meant to prevent a girl from remaining a spinster. A girl should not stay at the corner of a table: Two girls should not look in the same mirror, not to split their luck. They are also used to bring unfaithful husbands back home.
It is not about forcing them into marriage, but about teaching them to love the proper one: Traditional Rroma marriage develops on four ritual stages: Because, in the traditional way of thinking, the aim of love, which is synonymous with marriage, is to give birth to healthy and lucky children see also Wlislocki, , 65 , the wedding is accompanied by many fertility rituals, among which the sprinkling of the bride with water.
Men do not take part to this ritual, but they are announced by the symbolic invitation to wash their hands and to sit at the pakiv table. In case the bride is not a virgin, she is not pakivali honest, faithful, respectable , she will be named doshali guilty and a series of punishment and reparatory rituals will be developed: Infidelity during marriage is severely punished in the Rroma traditional culture.
The guilty one is declared mahrime impure by i kris the judgment council and this status is marked by a visible stigma see Grigore, , The success of such marriages based on more than love, but on community interest and commitment and on pakiv, is proven also by the fact that separations are almost inexistent among traditional Rroma. In this case the wedding is shorter, without the pakiv party or does not take place at all.
The two families remain in potential conflict for a long time and i nashli the run away stays quite stigmatized as bori daughter in law. But beyond all these, the fact that o nashimos is accepted, with all needed reparatory and compensatory rituals, means that even the traditional community agrees with the inclusion of deviance, naming love, into its system. Instead of excluding, Rroma traditional culture prefers to control. The whole philosophy of the Rroma traditional family is based on the opposition between ujo pure and mahrime impure , the first one being the guarantee of community balance and harmony with the universe.
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To be pure means to be in possession of honor and to euphemize all tendencies that can compromise your straightness, including love before marriage. Women, symbols of love seen as lust, have to follow many rules and to preserve purity, not only of herself, but also of the community: If a woman touches a pot or a glass with her skirt, nobody will ever drink or eat from that one and it will be broken, to break the bad luck, and thrown away from the house. That is why there is forbidden to put vessels on the floor, in passing places.
Out of respect and shame, the Rroma wife is not allowed to give water to her husband with her bare hands, she has to cover them with a towel or, better, with her own dikhlo head kerchief , which is pure, because it stays on the head, the pure part of the body in Rroma traditional thinking. Erotic symbol, the woman hair is considered impure, so it has to be kept tightened in ciungria pigtails and covered with o dikhlo head kerchief or what can be seen. During her period, pregnancy and six weeks after giving birth, all signs of womanhood, the woman is considered impure, so some actions are taboo for her, many of them also meant to protect her from effort: The human body is divided into two parts: The two parts have to be always kept separated, not to contaminate the upper part with impurity.
That is why the separation between these two parts has to be visible in the clothes: The skirt is never put through the head. Skirts are washed separately from shirts. The upper part of the body is washed separately from the lower part, never in the same water.
Because the head, belonging to the upper part of the body, is pure, so is the hat. Anything that reminds of the body, including washing it, is considered shameful. Belonging to the upper part of the body, breasts are pure; they are the symbol of motherhood, and not of sexuality, so women can breastfeed in public. On the contrary, knees and ankles, belonging to the lower part of the body, are impure, so they have to be covered; more than that they are considered the most shameful part of the human body. Being or becoming impure by breaking the rules of purity means to be excluded from the community as a danger, because impurity is contagious and it destroys the balance of the traditional life.
Impure behavior brings bibaht bad luck and this is extremely dangerous because it follows the family and the community for generations. Rejecting physical love and anything related with the body life, praising marriage as the sacrifice of the individual for the sake of community interest and family pakiv, Rroma traditional culture includes also the deviance by reparatory customs, everything to keep the traditional society balance under control.
Block, Martin, , Moeurs et coutumes des Tziganes, Paris: Fonseca, Isabel, , Bury me standing, New York: Gila-Kochanowski, Vania, , Parlons tsiganes, Histoire, culture et langue du peuple tsigane, Paris: Popp, , Les tsiganes. Williams, Patrick, , Mariage tsigane, Paris: Ainsi, Dieu, qui est beau.
L'univers est ainsi mis en mouvement, au sens propre, sous l'action de l'amour: Il importe de rappeler ici que l'amour universel a deux composants: Ibn 'Arabi tire la conclusion que … l'objet de l'amour, sous tous ses aspects, est Dieu. Ibn 'Arabi's Metaphysics of Imagination. Hallaj, , Diwan Hallaj ed.: Ibn 'Arabi, , L'arbre du Monde; introduction, traduction et notes: George Grigore, en Contemporanul nr. Merkur, Dan, , Gnosis: Murata, Sachiko, , The Tao of Islam: Muslim, , Sahih Muslim, Al-Qahira.
Yet, as I will try to show, the Preface requires careful reading for many reasons, and most importantly because, unlike other major poetics of the time, it is primarily a kind of applied poetics; to put it otherwise, it is a poetics first by what it is, and not by what it says4.
It is for the first time since Lu Ji that a major text is actually an illustration of its own discourse; and unlike Lu, who dedicates his Rhapsody on Literature not to the particular genre of rhapsody, but to literature as a whole, Xu writes a Preface to an anthology of mainly palace style poetry that is itself palace style poetry. Engaging upon such a course of reading will also help us discover, I hope, why the Preface may be seen as a poetics of desire or as the manual par excellence of courtly love in sixth century China. This is how Xu Ling begins his Preface: Atop the round jade terrace of the Zhou King, Inside the golden house of the Han Emperor, Jade trees with coral branches, Pearl curtains with tortoiseshell hangers: There inside are beautiful women.
Yet, as anticipated above, here we find ourselves thrown from the very beginning into a text that seems much more typical of palace style poetry: And if this was nothing but an intention, another plan of his did come true, namely a house for the spirits with jade trees and pearl curtains. This is how our literary competence should help us imagine the setting in which Xu places the beautiful women that he is about to describe.
Let us notice in this context the subtle way, that is also highly typical of palace style poetry, in which the description begins to unfold. The difference of pace between the first lines, meant to create only a general background, and the following ones, that signal the lengthy description that is to follow, becomes obvious: Typically, the corresponding phenomenon in the description proper is that the large outer spaces of the first lines are completely abandoned: For instance, when Xu mentions indirectly, one after another, two imperial courts separated in history by more than seven hundred years, he also makes it clear for us that what we are about to see here is not the space and time of the real, but any space and any time.
It is not surprising, therefore, that in this strange realm the completed project of King Mu and the dream projections of Emperor Wu overlap. Reading is better off in the space of verisimilitude, somewhere between the real and the imaginary. As such, it is also bound to remain open, suspended in the realm of possibility and indecision. We are, as I have said, only at the beginning of the Preface, and the descriptive lines that follow steadily amass more and more details. This superposition of details that starts here and will continue along many lines depicts, in a manner typical of the whole anthology, multiple and infinitely multiplied feminine images united by mute attractiveness and isolation in a world of surfaces.
Women, we discover, are painstakingly articulated constructs that correspondingly require difficult deconstruction in reading ; they are, first and foremost, objects of desire, a desire they both give rise to and are prisoners of, in the completely closed and artificial universe we are now gradually entering. The secluded character and the artificiality of the whole framework, strongly underlined by the paradigmatic absence of the males who rule this world and organize it but inhabit it only potentially and virtually, are harmoniously extended to the level of those elements that articulate the female portraits.
Physical description proper ends here, and the scarcity of detail and its indirect character may seem surprising. Textualization, suggestion, and the use of alternative stimuli such as clothes, accessories, cosmetics, decorations, architecture, etc. Good breeding and cultural sophistication function, we find out, in the same sense. Graceful, fresh, refined, and knowledgeable, these women are not unlike Xi Shi, the famous beauty of olden days, after she has been properly trained.
The arts they master are those of the classical education, and include, in a position of prominence, dance and music. Their competence in using the most diverse instruments to interpret or improvise songs, together with their dancing skills, are described at length and by invoking well-known cultural icons such as the poet Cao Zhi.
Reviewing all these skills creates the feeling of a progression towards an unknown goal, only strengthened by the vague erotic promise suggested by dance and music: The Preface continues, after a short intermezzo dedicated to the favours enjoyed by various beauties in the imperial harems of old, with a detailed description of the hairdos and garments of these transtemporal beauties.
Flavours and garments are next added to the list of elements meant to further emphasize the perfect beauty of these perfectly educated noble women living in perfect palaces. When dancing, for instance, from the sleeves of their robes comes the perfect aroma of that particular kind of incense that was once brought as a tribute to the emperor, and was then stolen by an official and offered as a gift to his beloved.
And yet, Xu hurries to say, his ladies, subject as they are to the highest of passions, are not goddesses of the kind that appeared on the Sun Terrace of the Chu King in the days of yore, even though differentiating them from such creatures would be no easy matter; moreover, even though their portraits have never been made, they are not dissimilar to the beloved concubine who has her likeness displayed in the Sweet Springs Palace.
And yet, this is not everything: Moreover, Their heavenly skills are comprehensive and brilliant, Their uncommon thinking carves beautiful decorations. They subtly explain literary pieces, And masterly forge poems and rhapsodies. Their glazed glass inkstone-case Is all day long near them, And their green jade brush sheath At no time leaves their hand. Fresh texts fill their baskets, And are not [poems] only about peonies. Their beauty and charm are as described above, Their talent and sensibility are as described here. Every new detail given has opened for further penetration, textually or intertextually, the highly artificial and conventional intimacies of these women, and has made us perceive them, as the conventions of courtly love require us, in the most common postures of desirability.
In this context, a difference noticed by many scholars8 should be pointed out. The early poets, echoing the formula put initially forward by Qu Yuan, wrote the motif of unfulfilled love according to a different convention. The impossible physical or spiritual union, seen mostly from a male perspective and textualized as such in the early period, on the one hand, and the constant deferral of such union, also accompanied by the almost complete disappearance of the male voice, and the figuration of women as objects in palace style poetry, on the other hand, are indeed highly divergent ways of writing the same motif.
The reasons accounting for this major change will be explored some other time.
At this point, the Preface goes on to talk, as expected, about sinuous and labyrinthine palaces whose walls are covered with aromatic pepper, and about secluded elevations made of wood, i. The timing of the regular encounter with the master of the house is strictly calculated, and all violation is impossible. Therefore, idle, totally carefree, lonely, and having little to do, as Xu describes them, the women do not comb their hair anymore; moreover the belated sound of harem bell is unpleasant to their ears, just like the thought about the slow arrow of time.
Their slender waists now completely lack vigour, in this life of languor spent only in the depths of the palace. What is worse, no game proves to be entertaining enough, as their pleasure and joy disappear the very moment they engage on any new diversion. This kind of self-neglect and utter boredom announces the state of maximum female desirability superposed by the conventions of palace style poetry on the characters these poems most often depict. Mais on ne le veut pas. On veut te marier avec ce viveur. Il est trop vieux pour toi. Pas un centime, pas un, pas un.
Elle est charmante, vraiment. Du reste, ce ne serait pas dommage De quels jetons vous vous servez au jeu? Il le lorgnait fixement Votre accent prend une allure faubourienne, quand vous ne le surveillez pas. Faites-moi place, je vous en prie Il souligna ce titre. Elles sont parties avec leur cavalier. Mais restez avec moi. Venez, venez… Je connais les chemins…. Pourtant, bien peu sont sortis. Infiniment meilleur que le Jablokoff 76!
Moi je conduirai madame. Enfin sa figure rayonne de satisfaction:. Allons, duchesse, venez, je vous prie. Votre fille nous attend Un coup de talon Comme il me hait aussi Ma reconnaissance durera autant que ma vie Prendre le jour sur le couloir On peut encore passer. Vous avez promis de le sauver. Mais restez tranquille, jeune fille. Il ne pourra plus passer! Dans le salon, la chaleur devenait plus intense. La chaleur devenait insupportable. Celle de la duchesse?
Mais elle est folle! Il laissa tomber ses bras inertes. Emma se rapprocha de lui:. On combat le feu. Ce sont des secours Je suis brave aussi, moi. Je vais vous rassurer sur mon compte. Vous risquez votre vie! Oui, je suis inquiet sur le sort de mes amis Et puisque ce M. Dans vingt minutes, si tu es ici, tu en auras encore autant Ayez pas peur, bourgeois, dans vingt minutes je serai de retour Elle est ouverte, la lettre!
Au fait, il ne se doute pas de mes projets Le premier rouleau ne peut donner un F et le second un M. La lettre qui annonce la mort de Mme la duchesse et de mademoiselle. Cette fois, il ne le manquera pas Vais-je, moi aussi, agir comme un simple Pranzino? De quel droit irait-il regarder dans cet appartement? Cela fait coup double: Seulement, je vais signer cette fois, ce sera plus compromettant pour lui Nous verrons si tu es un malin!
Les autres, de moindre importance. Cela fit passer le temps. Mais je voudrais bien voir Il me doit depuis dix ans On parla de ceux qui payaient et surtout de ceux qui ne payaient pas.
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Elle me doit une amazone Inconsciemment Schneider allongea une main crochue pendant que les autres prenaient des poses attendries, victorieuses et satisfaites. Ne prononce pas de semblables paroles…. Mais au nom du ciel! Comment payer nos dettes criardes? Cependant, elle reprend courageusement:.
Quelques secondes plus tard, et la duchesse se trahissait. Il regarda la duchesse avec des yeux hagards Mais pourquoi donc ne sont-elles pas mortes? Quelle raison donnera-t-il du crime? Il faut agir autrement Quelle serait ma vie? Venez avec moi, Danglars. Suivons cette coutume de haute science. Mon Dieu, que faire? Curtius prit son parti: Il perdrait sa place, sans doute Du reste, tu es plus jolie!
Vous arrivez de Bayonne. Tes malles, tes costumes que tu laisses Avec les artistes surtout! Mais partout on peut faire des costumes Il le retrouva en pleine ascension de fortune, comme disent les astrologues. Je ne dis pas Il en a cent vingt mille Mais vous avez dit: Vous leur rendez service Vous ou moi, nous lui aurions paru fadasses! Il taillait si bien Et je gagnais toujours, sur lui. Nous aurons des petits sucriers… des petits fondeurs! En ce cas, cette femme serait bien coupable. Mes lettres… mes lettres Monsieur le duc, ne vous tuez pas Positivement, nous ne le savons pas Danglars qui a commis ce vol, monsieur.
Par le paquebot suivant, vous reviendrez tous deux De quel droit douter de sa providence?