1. art and entertainment
2. music
3. music genres
4. opera

TO
HOW
THE
SING
OF
ART
LYRIC
A
DRAMATIC
AND
INTERPRETATION
BY
YVETTE
GUILBERT
WITH
INTRODUCTION
AN
BY
CLAYTON
AND
THE
HAMILTON
ILLUSTRATIONS
MANY
COMPANY
MACMILLAN
1919
All
rights
reserved
SONG
COPTMGHT,
BY
Set
up
and
1918,
GUILBERT.
YVETTE
electrotyped.
Published
October,
1918.
/
XortoooU
J. S.
Gushing
Co.
Norwood,
"
Berwick
Mass.,
"
U.S.A.
Smith
Co.
DEDICATE
I
TO
ALICE
THIS
DEAR
MY
AND
FRIENDS
LEWISOHN
IRENE
AFFECTIONATE
IN
OF
ADMIRATION
THEIR
CREATION
PLAYHOUSE
NEIGHBORHOOD
THE
YVETTE
Nxw
TOBK,
BOOK
AUGUST,
1918
GUILBEKT
PREFACE
I say
Verily
One
must
be
never
unto
be
discouraged
at
Never
be
discouraged
by
Never
be
discouraged,
when
Never
be
discouraged,
where
discouraged
be
:
!
discouraged
Never
Never
you
!
learning
difficulties
!
is
progress
lags !
success
the
by
slow,
indifference
of
the
of
the
crowd,
Never
be
crowd
Never
be
of
discouraged
the
by
ignorance
!
discouraged
whosoever
lack
the
at
it may
be
be
discouraged
through
the
Never
be
discouraged
through
your
God
does
be
An
The
those
to
comes
in
artist
Bible
vain
is
that
admit
not
says
And
A
And
all
fine
the
is
time
a
time
a
a
servant
children
shall
come
efforts
time
for
peace
time
for
for
sorrow
time
for
for
thing,
every
"
war
"
rejoicing
vii
!
Israel
of
"
others,
fault
own
and
divine
a
"
unto
"There
A
good
of
"
priest
a
faults
will, that
who
comprehension
!
Never
All
of
:
!
"
should
PREFACE
viii
And
And
And
is
A
time
On
And
a
the
time
for
for
then
will
that
rest
weep
"
"
laugh
to
artist
!
!
Courage
:
defeats,
our
there
!
be
:
A
time
to
look
A
time
to
listen
A
time
to
love
A
time
to
suffer
A
time
to
endure
A
time
to
forgive
A
time
to
learn
A
time
to
understand
A
time
to
absorb
A
time
to
digest
A
time
to
reflect
A
time
to
mature
A
time
to
bloom
A
time
to
expand
A
time
to
create
A
time
to
reproduce
A
time
to
sow
come
"
"
to
time
victories
our
condition
to
a
unto
work
time
a
time
A
There
to
"
"
for wealth
time
a
And
I say
for poverty
time
A
"
for sickness
time
a
time
A
And
for health
time
A
the
time
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
to
reap
!
PREFACE
is
What
artist's
an
ix
life?
A
time
when
you
A
time
when
others
A
time
when
the
A
time
when
you
despise the
A
time
when
the
artist
shelters
of Art
dependent
are
dependent
are
populace
Art
A
time
when
money
A
time
when
the
artist
insults
A
time
when
the
work
of
that
A
time
time
time
!
at
the
gates
artist !
the
artist
!
money
artist
an
"
is obtainable
for
millions
could
purchase
not
!
work
when,
through
the
fault
through
the
lack
of the
nation, artists
"
when,
perishes
A
the
insults
untold
same
perish
A
"
cents,
when
time
!
-
when
A
you
in vain
knocks
"
you
populace
time
few
on
despises
A
a
others
on
of
artists,the
nation
!
when
native
your
makes
town
tion
reputa-
your
"
A
when
time
make
you
the
reputation
of
your
town!
A
time
suffer
envied
being
when,
by
being envied
time
when,
A
time
when
you
are
A
time
when
you
are
A
time
when
you
will
A
time
when
you
will universalize
time
when
formula
A
time
many,
you
"
A
A
too
when
you
a
by
unit
too
suffer
"
!
the
prisoner
from
your
of
your
"
you
will escape
!
!
specialize
be
you
"
multiple
will
few,
formula
!
PREFACE
x
There
A
A
A
is
:
time
when
your
time
when
your
when
time
genius
A
time
when
A
time
when
A
the
There
A
A
is
A
A
when
time
when
is
when
time
which
in your
A
is
time
A
time
than
greater
!
your
is greater
genius
your
efforts
your
them
are
than
that
low
so
nown!
re-
your
the
crowd
"
efforts
your
crowd
high
so
are
that
they
pass
sur-
!
nothing
what
counts
do
you
what
except
for
counts
do
you
nothing
"
!
fancy
you
calls
out
are
you
to
you
weary
of effort
Still greater
:
"
efforts
effort !
:
when
say
reputation
your
is
renown
"
:
time
There
makes
talent
your
:
time
There
makes
"
when
time
talent
your
reach
can
reputation
it
seems
nothing
have
you
to
more
"
which
cries
to
out
you
Fool,
:
does
life
ever
stop?
There
A
A
is
:
which
time
which
time
with
disgusts you
cries
out
to
the
you
:
present
And
"
what
of
the
past!
is
There
A
time
has
A
tune
:
which
gone
which
says
by
to
you:
Ah,
we
know
of
what
"
cries out
to
you
:
What
of the
future?
PREFACE
is
There
A
time
:
meditation
for
the
.
in
ri
face
of
the
.
fear
of
Time
.
.
formidable
task
to
be
plished
accom-
"
A
which
time
in
looking
cries
at
out
the
to
clock
you
!
:
WORK
Lose
not
! !
your
time
.
.
CONTENTS
PAGE
INTRODUCTION
1.
xv
THE
SPECIAL
A
VOCAL
SINGER
AN
TECHNIQUE
SONGS,
OF
OPERATIC
NECESSARY
COMPARED
AS
TO
TO
THAT
OF
SINGER
2.
How
TO
PENETRATE
3.
How
TO
CREATE
1
AMPLIFY
AND
TEXT
THE
22
ATMOSPHERE
36
...
4.
THE
EXPRESSION
OF
5.
THE
OF
DIFFERENT
THE
FORMS
TRAGEDY
50
COMIC
SPIRIT.
THE
EXPRESSION
CHARACTERIZED
AS
PURPLE,
THE
PLASTIC
7.
THE
DEVELOPMENT
GRAY,
"
RED
AND
6.
COLORS
IN
JOY
OF
59
73
ART
OF
FACULTY
THE
SERVATION
OB-
OF
98
MUSICAL
9.
THE
EURHYTHMIC
THE
SCIENCE
10.
104
RHYTHM
8.
EXPRESSION
OF
TEMPO
OF
IN
BODY
THE
110
118
DECLAMATION
.
11.
How
TO
ACQUIRE
.127
MIMICRY
FACIAL
.
12.
ABOUT
THAT
MAGNETISM
MUST
CHARM.
AND
ANIMATE
THE
TRUE
THE
SOUL
130
ARTIST
.
xiii
INTRODUCTION
elements
Two
of
work
art,
ability
an
The
first
done
has
it
that
"Wisdom
is of
that
is the
experience.
moment
is
something
to
be
able
But
the
ability
to
of
all
to
remember.
second
things
it,
of
and
;
to
proof,
soil
can
XV
of
not
can-
like
ever
to
at
man
any
a
bered
remem-
have
To
have
lived,
must
of
be
a
tion
observa-
been.
element
and
of
than
less
nor
necessary
essential
Soul."
character
the
of
sight
endogenously
in
has
the
the
character
he
"
of
of
grow
more
it is
say,
say
it out
The
to
having
one
float
nourished
that
an
Whitman
susceptible
not
character
nothing
is, indeed,
Walt
from
the
must
long
It
be
can
.
.
in
of
It
and
record
.
is
fruit
roots
is
provokes
taught.
with
;
nothing
it;
Soul,
there
things
passed
proof
own
Something
be
the
;
"
having
not
Wisdom
any
be
and
which
of
said,
incommunicable
it.
stay
"wisdom"
another
Wisdom
second,
articulate
some
and
exist;
not
cannot
is its
and
say,
of
means
original
or
eloquently
so
tree,
does
stimulate
of
aspect
is
element
or
to
by
to
veritable
any
expression.
of
exists
it
say
in
conjoined
first, something
"
to
method
it
be
must
art
"
and
an
learned,
xvi
INTRODUCTION
and
as
be
can
it may
watched
be
only
this
but
and
In
Raphael
the
of
The
things he
has
likely
to
be
that
of
has
anything
the
tree
alone
the
draw
with
to
last
at
the
world
This,
Robert
of
Louis
is
by
to
worthy
course,
flow
was
Stevenson
nobody
the
for
learning
the
things,
or
technique
Granted
himself,
of
in the
yet
what
when
in
he
can
is
he
his
because
his
fluently and
was
how
later, when
expression,
forth
decade
He
act.
before
Then,
say.
may
practice
constant
it
pose
pur-
youth
expression.
sing
while
leave
to
of
or
very
and
it is best
years
express
will
;
thirty
apprentice,
an
say
anything
comes
character
to
is
of
write
or
ability
an
time
to
in
learn
can
that
The
the
instances,
rare
continually
roots.
early
of
are
assumed
he
up
medium
paint
or
endowed
of
pluck it
gift of talent,
twenties,
was
about
things
in
growing,
is
articulate
acquire
the
be
profitably spent
initial
Rubens
period
these
till after
say
inspecting its
some
and
Except
it may
Keats,
to
generation.
overmuch
whereas
say,
to
codified
a
practitioner
to
eager
worry
negligible.
not
more
of his
to
to
of character
and
of
of
to
is
have
Dyck.
inclined
is
the
who
sound
generation
aspirant, in the
average
youth,
be
Van
quired
ac-
following
artists
every
be
can
practice;
arts, there
to
from
It
by
pupil of Perugino,
a
teacher
like
is known
down
was
of the
longingly
incessant
great
itself,
of
up
for.
and
of
each
which
passed
is
grow
lightened
be
examples
and
technique
labor
may
before.
gone
not
waited
and
hard
by
labor
precepts
will
part of character, however
component
a
It
taught.
the
wrote
sage
mes-
fully.
grace-
mind
to
a
INTRODUCTION
art-student, Trevor
young
bow
art,
technique
Forget
when
to
to
Then
do.
the
In
be
apt
the
meanwhile;
glory
absolute
an
and
copious."
the
her
of
benefit
footsteps.
has
deeper
a
lesson
But,
to
and
This
is
is
springing
"
so-called
no
it.
himself
to
up
artists"
is of
acquire
that
The
previous practice,
be
It
that
is
too
living
in
having
medium
critics"
of
group
that
nique
tech-
lazy
too
are
without
present
"
anarchic
anybody
necessary,
Yvette
the
the
at
they
articulate
it
that
"
can
express
mastered,
of
to
by
expression
utterly condemned.
scarcely
Madame
an
nical
tech-
taught.
that
heresy
volume
that
of so-called
because
in
important
noisily pretend
account,
is
follow
to
born,
sorely needed
an
is
craftsmanship,
be
can
celebrate
she
treatise
more
not
group
who
spontaneously
cannot
is
anarchic
an
made,
and
dramatic
which
conclusively
learned,
lesson
a
time, when
is
be
must
a
the
Guilbert
least, the
teaches
you
say,
of
aspire
at
it demonstrates
to
art
of
who
me
and
accomplishment
can
manual
a
love
what
This
master.
beginners
meaning
for
;
as
of
of
art
an
"
the
to
technical
Yvette
of
bed.
successes;
anything
Madame
perfect
primarily
intended
for
and
get
of
to
go
terms
have
principles
basic
you
technical
you
lyric interpretation,
and
in
own
Think
entirely through
book,
present
expounds
the
when
entirely in
when
will
language
it
see
your
technique.
and
world
"In
"
rise
to
the
see
spectacles,
can
in
processes,
Haddon,
over
you
purposes
technical
get
head
your
xvii
world
in
Guilbert
to-day,
who
this
is
place,
the
does
to
finest
state
artist,
anything
of
INTRODUCTION
xviii
any
kind
upon
has
been
expressed,
last
ten
the
leading
her
of
thinking
ease
have
little
of
much
told
her
of
she
gifted
by
and
and
Dante
of
said
them
than
his
the
of
is
than
of
of
the
in
of
for
she
tireless
was
faculty
of
faculty
of
have
never
become.
the
years
even
of
as
She
that
twenty
task
nearly
has
devoted
has
geoisie,
bour-
of fourteen
age
could
cantos
vantages
ad-
nearly
world-embracing
lean
the
knew
penetrating
that
the
to
to-day.
gifts alone
great
a
labor
;
a
and
longer
perfecting the
art.
How
books,
literary laurels.
she
early
understands
him
to
write
to
at the
Guilbert
of her
author
less fitted
understood
century
kept
that
technique
The
life and
these
Yvette
that
years
always
bringing-up
perfect artist
of
had
Madame
time
the
long
Paris, she
the
But
her
effort.
appearance
of
with
nature
sympathy.
heresy
apparent
that, owing
and
character
knows
the
was
once
human
observation
made
me
birth
of human
much
the
however,
only by
Guilbert
working-class,
or
of
indefatigable practice.
Yvette
She
perfectness
antecedent
that
acquired
of
such
demonstrate,
art, and
be
and
study
woman.
as
in
can
Madame
as
will
with
the
critics
fall into
to
without
at
in
leading
very
produced
arrived
is easy
spontaneity
earnest
effects
book
the
public
another
or
all the
But
the
superlative opinion
time
one
nearly
allure
been
nothing
at
nations.
that
This
stage.
by
years,
might
art
This
the
Sing
to
a
does
nor
her
own
in
to
an
is not
she
aspire
in
Furthermore,
writing
Song
the
the
to
present
unfamiliar
express
tomed
accus-
any
stance,
in-
language,
many
move-
ART
THE
OF
LYRIC
THE
DRAMATIC
INTERPRETATION
SPECIAL
VOCAL
A
TO
TECHNIQUE
SINGER
OF
COMPARED
TO
little
help
to
is
Art
book
those
Men
OF
with
the
mistaken
purpose
about
struggle
make
what
against
world
the
the
Art
latter
by
is Love
!
Love
of
the
Love
of
Nature
Love
of
Life
Love
of
music,
B
of
behalf
always
their
God
of
a
struggle
believe
they
wholesale
spreading
universal
Creation
Love.
!
!
!
Creation
by
by
on
former
the
but
ideal,
same
war
artists
ideal,
save
Death,
by
written
"
sometimes
the
For
is
vainly
humanitarian
will
AS
ignorance.
proper
for
SONGS,
SINGER
who
will
"
SARY
NECES-
THAT
OPERATIC
AN
THIS
AND
poetry
sculpture,
by
!
1
by
painting,
DRAMATIC
2
Know
AND
will be
you
as
worship
God
and
will be
Let
the
the
and
mentality
immortal
its
its
;
praise
of
a
Free
"
beauties,
its slavish
to
become
to
"Art"
art
embraces.
let
task,
curbed
narrow,
yourself !
color
it is unharmonious
artist,you
an
in
art
"
without
Painting
genius
a
!
want
Music
!
you
understand
every
will be
disdain
prisoner
but
fellow-
!
the
"
self
your-
your
creation, sing
faithful
beware
If you
his
know
you
; love
you
remain
let it remain
But
and
mercenary
crowd
as
artist
an
yourself
creature
you
INTERPRETATION
fellow-creature
your
and
LYRIC
all
lacks
must
forms
that
plasticity
.
.
.
!
without
plasticity lacks
harmony
it is colorless.
.
.
.
Sculpture
it is
lacks
harmony
color
.
.
.
shapeless.
without
Poetry
lacks
A
without
with
singer
often
makes
with
become
form,
sculpture, painting,
therefore
be
without
and
him
the
same
the
same
rhythm
music,
splendid
most
"success,"
a
and
and
is
art.
deplorable artist, but
a
the
color,
singing
every
one
mechanism
"success."
as
who
voice
the
may
crowd
is blessed
wants
to
VOCAL
if
But
TECHNIQUE
do
you
not
3
the
possess
splendid
voice?
Then
decide
you
Songs/'
it is "so
as
Because
of
a
art
of
Because
be
all the
in the
Because
which
the
fact
be
one
to
appears
of
the
of the
tation
interpre-
that
art
is in
choose
!
fact
the
be
to
include
superior, must
the
requires
there
"facility" !
the
you
that
fact
you
ignore
you
"easiest,"
art
ignore
perfect,to
arts
the
"easiness,"
you
to
great,
ignore
you
scale
no
of
!
song
Because
"Singer
a
easy."
ignore
you
become
to
that
the
art
simple,
most
time
longest
the
for
its
perfection !
if you
So,
singer
of
have
must
you
You
must
be
a
This
a
and
out
Their
of
either
who
question
voices
can
a
career
a
from
you
be
for the
tralto,
con-
tenor, you
or
be
must
one.
singing
is
what
placed,
as
or
a
song
as
operatic part.
an
have
a
training.
soprano
tenor, all in
as
Chansonneur,
contralto, you
work, like
register" normally
are
of
career
and
will prevent
singers
real
barytone, bass,
a
soprano
"uniform"
The
be
not
barytone, bass,
a
long special voice
a
either
must
the
songs,
make
to
want
like
art
fine
as
of
called
"one
operatic stars,
singing a
song.
possible,if they
DRAMATIC
4
the
herself
is
Chansonneur
singer
of
Because
able to render
deform
it
by
too
limited
always
"
to
himself.
or
sing
to
one
We
have
vocal
many
La
more
all
Chanson
multiple
illustrate
must
what
eyes
our
the
an
is to say,
public
hear
they
as
songs
help
so
Our
picture we
colors,that
many
colors, and
powers,
painters.
are
color the story, the
to
their
with
any
voices.
we
songs,
her part with
actress
see
of
there
exhibit.
minute
possessing
song.
must
you
singers
are
is not
limit
all songs.
multiple colors, multiple
voices
The
means
songs
is not
multiple, and
We
no
songs.
Chanson
La
have
must
limited, he
to sing
possibilities
is
will
voice
a
be
register.
expressing
the
a
will not
repeat the Chansonneur
I
in
stiff
too
or
their
INTERPRETATION
"justly/' they
song
rich
LYRIC
multiple, they
not
are
AND
with
to
their
ears.
Only
Of
the
voice,
the
the
to
For
if you
and
for
in
such
vocal
not
them
en
this.
this
dangerous
I
advise
never
know
is for
a
gymnastics,
how
to
direct
of his voice.
instance, it gives
sing
produce
reason
does
mechanism
can
this
indulge
beginner
vocal
how
I know
course
student
as
series of voices
a
some
songs
poitrine (on
the
more
chest
color
regis-
VOCAL
ter), instead
of
ought
voice
the
using
be
to
TECHNIQUE
5
in which
passage
It would
placed.
the
be incorrect
operatic technique.
in
if I have
But
qualities which
expression,
comic
of
for
required
are
the
of
observation,
and
eyes
mouth,
him
I direct
colors
vocal
her
or
acquire
to
to
necessary
pression,
ex-
plastic,
expressive
sensitiveness
immense
an
power
tragic
of the
with
face
a
of
singer
a
of
power
literaryculture, instinct
sense
all other
possesses
is, fantasy, originality,the
that
;
songs
who
pupil
a
"
registers,all
all
all
of
songs
express
characters.
I
two
this
told
Gounod
sake, do
expression by giving
of
whose
else.
we
thousands.
the
voice
We
'
you
voice.
'flat'
a
often
very
professor will
Your
lessons.
me
God's
for
Yvette,
one
I
was
one
cussed
dismy
compatriote Gounod.
c"lbbre
means
The
subject.
very
career
my
whom
with
musicians
famous
very
of
early beginning
the
in
met
a
:
"Mademoiselle
not
kill your
had
have
And
then
You
will be
Judics
shall
have
have
created
your
Judics
after
power
of
pretty voice/ which
pretty, charming,
is
singing
take
will
you
like Judic,
nothing
and
before
Judic.
style, preserve
be
Judic, and
You
it."
self
your-
DRAMATIC
6
On
to
AND
house.
We
I asked
had
the
such
"You
the
the
words
; but
in
have
only
arias, and
make
to
contralto, arias
hear
You
idea
that
these
there
operatic singer
And
there
technique
of
technique
of
singer
of his
and
is
a
an
write
music
arias
tenor, etc."
is
between
difference
the
songs.
between
and
songs
confirm
the
vocal
the
vocal
singer.
opera
has
of songs
of
singer
of
to
for
soprano,
lips
singer
as
less beautiful
authoritative
a
had
we
such
or
the
difference
a
more
for the
the
register.
first to
"if
appropriate
we
shine
of
tempo
a
songs
music
supper
sentimental,
so
of
he
why
for the
almost
write
we
for
arias
for the
The
was
music
would
voices
the
which
came
tation.
interpre-
me
see," replied Verdi,
we
are,
of
to
Traviata,"
operatic stage singers
you
arias,
explain
to
spirit of
vivacious
a
waltz.
on
him
Verdi
Paris,
speaking
were
in "La
composed
scene,
INTERPRETATION
of his last visits to
one
my
LYRIC
He
break
to
will
the
acquire
with
speak, by speaking
it
ity
uniform-
by
ing
learn-
"color," by
reciting.
He
"on
will become
the
French,
His
deep,
lips,"
and
not
speaking
full of
accustomed
in
the
in the
voice
nuances
to
as
masque,
nose
will
or
be
place
in
(shades)
in
we
the
turn
and
his voice
say
throat.
sweet
he
in
will
or
be
DRAMATIC
8
AND
diction,
coloring of her
a
condition
which
comprehension
the
play
if
"
talent
the
an
important
one
by
by the
entire
music
beautiful
is sometimes
badly
These
The
and
sensible, and
'
submits
the
to
Italian
music
ignoring
France,
very
captivated
are
the
to
a
guage,
lan-
of the
it
how
the
art
dramatic
by
vocal
necessary
of
out
shaded
science.
declamation
of
an
deformation.
great
painter,
the
the
without
art
important
as
guage
lan-
artist.
the
"
is the
still worse
and
make
of
art
of
disfigured, horribly pronounced,
colored
artists
art
public
which
of
of
clear, and
the
language
Italian
'
We
submits
it often
as
scene,
subject
of its intonations.'
quality
of that
the
her
us.
is pure,
that
of the
science
of
part
It is evident
the
nunciation.
pro-
artistically appreciating
'
escapes
"
emotional
charm
for
of
art
of
speak
not
The
expression
by their
have
dramatic
the
which
voice
a
does
of
contents
is
This
artist.
the
to
effects
might
sufficient
or
Therefore,
the
of
notion.
my
great
one
one
is not
"
escape
coloring and
of
knowledge
"The
INTERPRETATION
prejudice
a
obtain
science
by their
the
is
comedians
best
LYRIC
word
coloring
Every
again
just
for
word
the
"coloring"
the
as
and
is
of
as
art
the
of
great
the
word
designing
art
indispensable
of
"
as
is
just
for
the
drawing
the
art
"
of
painter.
has
its form
and
its
color, its
VOCAL
light and
its shade.
the
pronounce
the
and
chaud
If
neige
he
laid
(cloud)
nuage
the
:
(marvelous)
value
was
words
value
equal
ugly),
ample,
more
more
The
word
accentuated
more
to
La
say:
earth)
the
neige with
long
a
if,musically speaking, the
(une blanche)
note
the
for
(une noire)
note
quarter
a
covered
word
the
half
has
artist
(Snow
la terre
syllable and
The
(pretty and
is
is
dramatic
nei-ge, as
a
have
nounces
pro-
splendide (splendid).
word
la
one
pluie (rain).
word
example
as
(grass).
and
beau
pronounce
accent
(heaven)
cold)
couvrait
will
del
for
not
and
skilled
a
does
froid (hot
merveilleux
the
One
herbe
than
majestic
9
word
word
the
than
word
; also
of accent
but
TECHNIQUE
first
for
the
second.
La
largely ;
value
The
"
la
and
of
to
word
the
couvrait
ge
"
will
couvrait
word
The
nei
amply,
pronounced
be
will be
terre
la terre!
given
the
same
accent.
who
artist
Therefore,
be
as
dryly, without
coloring,
intellectual
an
inferior
I said
the
pronounce
la terre"
neige couvrait
science, will
will
in
a
word,
phrase
visual
without
artist.
before,
if you
possess
the
10
DRAMATIC
coloring the
of
art
LYRIC
AND
of the
stones
house
the
Now,
INTERPRETATION
words,
wish
you
second
have
you
the
build
to
up.
how
cleverness.
of
question
in
to breathe
First
a
Everybody
time
short
practice
must
you
movements
of
the
keep it, with
air and
part of
upper
is
of your
shoulders,
have
you
When
have
almost
If you
of
an
in
one
of
an
but
inflated
large
this
Un
end
the
de
DE
Refrain
H"las
Un
; that
of
dose
maman,
mouvement
retain
means
air you
a
able
you
take
of
quarter
to
the
Curiosite.
CURIOSITE
je
curiosite".
vous
sing
before
:
pardonnez
de
for
be
measures
Mouvement
MOUVEMENT
UN
longer
day
every
twenty-four
:
chest.
slowly, extremely
singlerespiration, which
song
until
and
can
the
level
the
on
say,
chest
very
will at
you
starting, the
slowly
imperceptibly.
practice
hour,
simple.
closed, in
any
your
learn
absorb
you
cannot
itself of the
absorbed,
slowly,
as
air,lower
let it empty
to
long
feel you
you
absorbed
the
as
sensation
the
First
so
a
purely physical
mouth
chest,
only
can
; it is very
the
respiration.
your
is how
indispensable point
breathe, respiration ! Respiration
to
first
prie
lowing
fol-
VOCAL
TECHNIQUE
11
1
Je
croyais seulette
me
Quant
a
Helas
Un
mes
la
en
Colinet
yeux
s'est presente* ;
pardonnez
maman,
de
mouvement
prairie
je
prie
vous
curiosite*.
2
le
Vous
Que
Un
berger n'a
ce
Helas
dans
savez
le
village
d'e*galen
pas
pardonnez
maman,
je
beaute*
;
prie
vous
curiosite*.
de
mouvement
public
on
3
En
A
m'abordant
mes
He*las
Un
1'herbette
sur
1'instant
a
genoux
il s'est
pardonnez
maman,
je
jete*;
prie
vous
curiosite*.
de
mouvement
fleurie
4
Au
m"me
instant
Fit
naltre
en
Helas
Un
bouche
sa
moi
le gout
de
pardonnez
maman,
de
mouvement
la mienne
a
je
la
unie
volupte* ;
prie
vous
curiosite*.
5
II
vantait
me
J'ai voulu
He*las
Un
dont
les noeuds
voir
maman,
mouvement
s'il disait
la v6rit6
pardonnez
de
Tamour
je
vous
nous
lie,
;
prie
curiosite*.
6
Si
plaisir est le charme
ce
Est-ce
He*las
Un
un
grand
maman,
mouvement
mal,
la
vie,
d'y avoir
maman,
pardonnez
de
de
je
curiosite*.
vous
prie
goute* ?
12
DRAMATIC
LYRIC
AND
INTERPRETATION
*="
He
las ! Ma
-
man
-
par
.
4
5
pri
e
-
un
8
don
-
je
nez
-
,6
mou
-
ve
7
de
ment
-
9
vous
cu
ri
-
10
o
-
-
si
-
11
)
Je
te
me
croy
12
-
ois
seul
et
-
-
13
dans
te
la
Prai
14
y
rie
quand
mes
a
15
Co
yeux
18
g:
-
sent
He
te.
las
-
Ma
man
-
19
par
-
don
-
mou
20
je
nez
21
un
s'est
net
-
17
16
t-
pre
li
-
prie
vous
22
-
ve
ment
e
-
23
de
cu
-
ri
-
24
o
-
si
-
te".
-
VOCAL
I
When
foregoing
my
respiration.
and
then
I
I
the
at
eight
to
could
and
to
the
complete
prolonging
for
the
succeeded
first
the
which
sixteen
was
is written.
and
able
was
with
measures
the
eighteenth
song
practicing
by
to
special
the
this
of
grace
of
stop, indeed,
preserving
of
sake
in
music
the
I tried
when
The
characteristic
century
first stanza.
measure.
necessary
and
another
weeks
point d'orgue (organ point)
the
at
five
martyrdom
however,
seventeenth
sing
before
respiration taken
practice
after
add
of the
measures
It was,
I
sole
Three
respiration patiently, methodically,
slowly,
and
the
I continued
my
stop
with
refrain
breath.
measures
able
was
four
start.
Then
of
and
I sang
exercises.
sing eight
breath
controlling
take
to
physical
my
for
beginning
obliged
was
I could
again taking
the whole
the
I used
breathe,
to
example
an
In
began
later
weeks
as
song
13
how
taught myself
the
measures
TECHNIQUE
the
to
single
respiration d'attaque.
At
to
necessary
the
"
the
last to make
That
song.
which
add
was
of the
the
verse
another
means
easy,
practiced
beginning
to
virtuosity triumph
owing
with
song.
the
to
the
same
the
five
it
refrain
was
of
measures
gymnastic
refrain
at
ercises
ex-
the
DRAMATIC
14
the
one
single respiration
twenty-four
and
absolute
be
example:
do,
re,
a
moderate
times
the
gamut,
weeks
to
learn
piration,
res-
speak
six
a
to
as
way
the
beat
the
out
following
will be
can
will and
after
conclude, here
A
special
singing
about
example,
vocal
by
notes
them,
and
how, by this simple
see
the
control
of
question
of
absolute
all,is only
also
and
give
an
coloring
St.
the first
are
technique
songs,
I will
the
is filled
a
patience.
To
Now
to
obtain
respirationwhich,
the
vocalize
sing them,
of
air escapes.
the
when
re.
able
descent
chest
pronouncing
surprised
exercise, one
the
when
be
to
and
ascent
times
of
speaking them,
one
times
ought
one
the
four
instead
Now
tempo
make
to
air and
with
see
It
mi, fa, sol,la, si,do, si,la,sol,fa, mi,
ten
said
start.
:
With
for
the
somebody
Let
and
2-4
at
measure
at
it in such
with
it.
of
master
Another
notes
control
to
to
song
taken
ten
able
was
the
of
measures
almost
therefore
I
days
ten
sing
took
INTERPRETATION
of another
end
the
At
LYRIC
AND
for
the
colors
words.
in
I
recitation
or
respiration.
illustration
Nicolas,
different
points to acquire.
which
mean.
of what
I will
song
I have
sing, for
you
will
AND
DRAMATIC
16
Nicolas
Entrez, entrez, Saint
Y
d'la
a
place, il n'en
II n'e"tait pas
Qu'il
sitot
demande"
a
p'tit sa!6 je
Qu'il
sept
a
y
de
Hors
il
le bord
Dessus
Je
le Saint
Et
petits
Les
Saint
! dit le
le troisieme
Je
croyais etre
the
song
with
au
II e"tait trois
S'en
vont
un
.
.
dormi
!
.
!
:
paradis !
e"tait,etc.
Legende
told
neutral
de
Saint
by
the
voice
Nicolas
glaner
soir chez
aux
un
:
champs.
boucher
gins
be-
interpreter
petits enfants
Qui s'en allaient
.
e"tait,etc.
re*pondit
refrain
a
:
les trois !
tous
second, aussi
II
the
doigts
J'ai bien
.
Et
with
trois
dit
La
"
.
moi
song
la
Nicolas.
relevant
se
Et
The
saloir.
ce
e*tendit
premier
!
""tait,etc.
II
Le
!
pas
pardonnera
qui dormez
grand
le
t'enfuis
ne
te
de
enfants
suis
ga,
s'enfuya.
!
II
Petits
!
alia s'asseoir
Nicolas
Saint
Psaloir
""tait,etc.
Dieu
!
!
entendit
boucher
R'pens-toi
avoir
qu'est dans
ans
II
Boucher,
souper.
veux
porte
sa
manqu'pas.
e*tait,etc.
le boucher
Quand
!
entre"
a
II
Du
INTERPRETATION
LYRIC
:
of
VOCAL
TECHNIQUE
THE
CHILDREN
(White
voice)
voudras-tu
Boucher,
(This with
supplication)
BUTCHER
hard,
a
loger?
nous
childish
a
THE
(With
17
voice)
brown
a
Entrez, entrez, petits enfants,
Y
a
d'la
place
assur"nent.
INTERPRETER
(Neutral voice)
Refrain
II Stait trois
petits enfants
glaner
Qui s'en allaient
In
the
second
show
now,
stirred
; he
Us
Que
Les
Mis
by
sings with
les
le boucher
au
saloir
en
a
Qui s'en
c
terrified voice
!
:
petits enfants
allaient
:
tue*s !
pourceaux
comme
glaner
aux
'
,
champs,
voice
criminal
p'tits morceaux,
Refrain
II e"tait trois
the
of
sitot entre*s,
pas
coupe's
a
voice
trembling
a
action
the
n'"taient
a
his is
;
himself
His
tells.
he
crime
emotion
must
butcher
the
champs.
aux
interpreter is
the
verse
frightened by
:
18
DRAMATIC
In
refrain
this
the
third
interpreter raises
the
of terror
In
INTERPRETATION
LYRIC
AND
pression
ex-
climax.
the
to
the
:
verse
INTERPRETER
Nicolas
Saint
Vint
a
de
bout
au
dedans
passer
sept ans,
champ,
ce
le boucher
allait chez
II s'en
voice)
neutral
(Again
.
SAINT
(Red voice,
.
.
NICHOLAS
posed,
voice, nobly
luminous
grave
register)
voudrais-tu
Boucher
.
.
loger?
me
.
BUTCHER
voice, submissive
(Humble
Entrez, entrez, Saint
Y
a
d'la
place, y
to
the
Saint)
Nicolas,
manqu'pas
n'en
!
INTERPRETER
sit6t
II n'e"tait pas
Qu'il
a
demande*
a
entre*,
souper.
Refrain
II e"tait trois
petits enfants
glaner
Qui s'en allaient
In this refrain
afraid
he
the
is of what
:
aux
champs.
interpreter will reveal
he
knows
about
the
how
crime
VOCAL
TECHNIQUE
committed
in the
very
room
is seated.
There
must
be
SAINT
in which
anxiety
p'tit sa!6 je
Qu'il
sept
a
y
the
Saint
in his voice.
NICHOLAS
(Imperative voice, large, grave,
Du
19
avoir
veux
accusing)
!
Psaloir
qu'est dans
ans
and
severe,
!
INTERPRETER
(Voice exasperated
of the
Saint
de
Hors
of
the
he
which
be
can
discovered
in that
in
long
a
the
by
by
long
a
a
interpreted
uttered
terror
has
vowel
produce
a
the
scream
visualizing
the
far-reaching voice,
the
word
:
scream
as
who
scream
effect
ought
de
sa
porte
entendit
il
s'enfuya
butcher
ga,
ah
...
has
of coloration,
:
sung
le boucher
Quand
Hors
be
to
of
himself
sees
interpreter
the
!
aaaaaaaaa
long
a
The
flight of
s'enfuya,
of his home.
It
crime)
!
immense
an
of the
tion
accusa-
splendid opportunity
butcher
Saint.
of the
ca,
s'enfuya
he
If
the
out
may
il
interpreter has
coloring.
ringing
entendit
porte
sa
in face
his revelation
and
le boucher
Quand
Here
by emotion
!
out
20
DRAMATIC
LYRIC
AND
INTERPRETATION
Refrain
petits enfants,
II e"tait trois
Qui s'en allaient
Of
course
of
the
butcher's
of
his
crime
when
express
his
will revive
he
the
children
a
in
because
up,
!
champs
aux
also
must
fright,
stirred
now
glaner
refrain
the
:
the
share
science
conscene
innocently
tered
en-
his house.
SAINT
(With
inflexible
an
than
of
voice
severity, not
a
baritone
speaking
register, more
voice, deep
bass
but
NICHOLAS
singing)
boucher
Boucher,
R'pens-toi
!
! Dieu
t'enfuis
ne
te
!
pas
pardonnera
!
INTERPRETER
(With
a
voice
and
specially rhythmic
essentially
classic)
Saint
Dessus
alia s'asseoir
Nicolas
le bord
de
ce
Refrain
II e"tait trois
saloir.
:
petits enfants,
Qui s'en allaient
SAINT
glaner
NICHOLAS
(Voice mystic, inspired,
Petits
enfants
Je suis le
champs.
aux
qui
dormez
grand Saint
and
la
Nicolas
tender)
"
!
VOCAL
TECHNIQUE
21
INTERPRETER
(Voice
veiled
the
by
emotion
going
Et
Les
II
Qui
le
be
to
Saint
Le
premier
about
Et
about
moi
! dit
Je
croyais
high-pitchedj
years,
second,
!
aussi
CHILD
high,
"tre
dormi
CHILD
THIRD
(Very
bien
.
seven
le
years)
J'ai
.
SECOND
of
!
champs.
aux
ten
dit
.
(Voice
trois
CHILD
FIRST
of
les
enfants
glaner
allaient
(Voice
which
doigts,
tous
petits
trois
s'en
trois
relev'nt
se
miracle
the
accomplished)
e"tendit
petits
e*tait
of
au
like
a
paradis
baby)
!
!
is
AND
PENETRATE
TO
HOW
AMPLIFY
THE
TEXT
is
WHAT
Just
a
the
the
that
The
words
I
nearly
all
the
they
Starting
deeply
penetrate
which
is
not
must
written
written,
make
and
your
The
show
your
why
sing'
talent.
songs?
his
of
the
helps
to
is
pidce
de
resistance
of
if
In
French
22
you
the
singer
artist
must
That
that
what
But
to
the
author.
read
of
discovery
gave
wrote
the
the
of
I
sing
to
that
song,
idea
verse.
schedule.
my
principle
creator
a
singer,
a
roughly
on
the
on
the
be
must
worked
it is
but
accessory.
wished
often
even
words
of
words
as
I
poem,
written
an
career
subjects
I
and
verses
but
my
a
is derived,
the
inspires
began
authors.
my
the
to
you
of
thought
song
nothing
are
When
a
artist?
an
helping
guide
from
of
to
song
the
not
meaning
thought
the
is
a
a
ideas,
It
song.
that
of
text
thread,
little
a
understand
of
the
written
not
in
it
which
will
have
songs
the
of
is
you
pretation.
inter-
course
talent,
no
we
have
DRAMATIC
24
AND
of
thought
the
"Are
and
says:
the
refrain
music
could
the
Well,
music.
is
not
emotional
in
her
each
came
the
her
time
of
shall
I
La
Glu.
French
by
shall
give
The
poet,
another
show
amplifying
she
the
you
Jean
the
the
are
author's
had
text.
of
which
dous
tremen-
a
profound
limited
well.
to
year
She
hear
because
me
I
was
Parisien.
of
words
written
verse
she
me
realism"
by
and
Frenchman,
by
of
question
very
Richepin,
verse
told
a
Paris,
had
music
extremely
her
in
now
words
And
song,
voice,
was
Concert
famous
you
"
entire
one
d6but
my
a
be.
to
not
of
knew
for
at
successor
is
masculine
I
day
she
She
but
means.
this
the
ought
surmount.
power,
son?"
my
because
is, it
celebrated
and
speaks
from
difficulty
a
heart
created
it
as
truth
It
could
she
it
render
not
who
sing,
I
by
miracle.
different
which
Gounod,
the
expressed
dead
hurt,
you
do
be
to
The
Teresa,
great
chosen
at
will
INTERPRETATION
is
poet
voice!
supernatural
Our
LYRIC
the
famous
our
set
to
Gounod.
what
I
song
mean
music
I
by
HOW
AND
PENETRATE
TO
LA
*
(Words
AMPLIFY
TEXT
GLU
by Jean
Richepin)
1
Y
Y
avait
fois
une
Et
lonlon
laire
Et
lonlon
la
avait
fois
une
aimait
Qui
un
celle
un
qui
pauv'
gas
pauv'
gas
Taimait
ne
pas.
2
lui dit
Elle
Elle
:
apporte
Et
lonlon
laire
Et
lonlon
la
lui dit
L'co3ur
de
:
apporte
ta
moi
d'main,
moi
d'main
pour
mere
mon
chien.
3
Va
Va
chez
et la
mere
Et
lonlon
laire
Et
lonlon
la
chez
Lui
sa
m"re
sa
prit Fcceur
tue,
la tue,
et
et s'en
courut
4
il
Comme
Et
lonlon
laire
Et
lonlon
la
Comme
Et
courait, il tomba
par
il
courait, il tomba
terre
le
co3ur
roula.
!
25
DRAMATIC
26
AND
LYRIC
INTERPRETATION
5
Et
pendant
Et
lonlon
laire
Et
lonlon
la
F
Entendit
Fceeur
disait
pleurant
en
lonlon
laire
Et
lonlon
la
Fcceur
Tes
tu
Y
qui parlait !
coeur
Et
Et
disait
fait
vait
a
un'
roulait,
coeur
que
roulait,
coeur
Et
pendant
Et
le
que
pleurant
en
mal,
mon
fois
:
enfant?
pauvre
pauv' gas
un
Ion
et
Ion
i
m
^="
lair
-
fois
cell
Now
the
song,
-
un
e
after
Ion
et
e
qui
ai
-
show
Y
la
a
mait
cells
qui
given
you
you
n'l'ai
vait
-
ai
qui
pauv'
having
I shall
Ion
-
the
mait
"
un'
mait
pas.
words
of
how, by singing the
TO
HOW
refrain
in
the
In
with
love
love
first
of
In
the
with
the
verse
a
the
lonlon
laire
Et
lonlon
la
him
to
the
Your
the
intonation, indicating
boy
and
his
is
verse
sadness
the
to
is also
boy
sing
you
lonlon
laire
Et
lonlon
la
the
sad,
refrain
The
voice.
kill his
mother.
She
refrain
the
of
:
girl orders
indifferently, dryly,
interpretation
his
see
misplaced.
Et
and
order
:
sad
imperative
go
refrain
but
Perhaps
second
the
Et
his love
very
boy
amplify
can
give
you
unanswered.
feeling that
style, you
27
author.
tender,
a
TEXT
AMPLIFY
AND
different
of the
text
the
PENETRATE
gives
cruelly.
cate
indi-
must
it.
In
the
off to
third
verse
fulfill the
expression
the
of
of
ferociousness
order
cruel
the
the
see
you
refrain
of
his
The
love.
the
indicate
must
deed, the
rushing
boy
of
madness
the
boy.
The
having
fourth
killed
sweetheart
Your
verse
is
his mother
with
his
how
tells
running
mother's
interpretation
of
the
the
boy
back
after
to
his
heart.
refrain
must
in-
DRAMATIC
28
INTERPRETATION
LYRIC
AND
dicate
that
he
is
running fast, as
if in
being
caught;
he
is breathless,
exhausted
the
strain, in fact
while
The
fifth
which
the
This
voice
sixth
contain
hear
heart
does
does
not
the
in
It is
glorification
real
I
shall
should
give
you
into
the
meaning
to
the
sight of
heart
of the
words
of
maternal
of
speak.
child's
The
cruelty, it
tragic fate, all
own
of
is
Has
:
my
boy
indicate
the
mother's
as
if
from
coming
beyond
world.
illustrate
The
The
supernatural, plaintive, weeping,
to
to
the
himself?
song,
means
mother's
thinks
sand.
Here
the
verse,
its
heart
breath.
your
the
hardly perceptible,
the
the
if the
as
last
heart
refrain
voice.
extinct,
of
by
terror.
supreme
of
stumbles
song.
and
complain
falling hurt
the
of
complain
he
rolling in the
is
stops
the
not
mother's
The
how
almost
be
the
you
describes
express
rolling heart
love,
heart.
climax
must
which
drops the
boy dropped
must
In
that
verse
is the
refrain
the
and
running
exhausted
so
fear
further
of
amplify the
original
text
the
now
the
sense
of the
words
how
by
song
of
another
penetrating
you
can
find
of it.
song,
eighteenth century, is
:
which
belongs
HOW
TO
PENETRATE
AND
EST-IL
DONG
AMPLIFY
BIEN
TEXT
29
VRAI?
1
Est-il
Gentille
vrai,
fillette,
Qu'amour
soir
Ce
bien
done
ait
vous
cachette,
en
d'un
Present
fait,
bouquet?
2
il
Quand
surprit,
vous
e"tiez seulette
Vous
dit
On
Sur
qu'il vous
prit,
entrefaites,
ces
frisson
Un
;
subit.
3
Dites
Que
fasse, ma
Vous
fasse
the
of
gallantly
of the
was
If
what
to
and
you
to
eighteenth
court, but
the
express,
art
words
then
will
has
all
century,
the
not
the
if sung
song,
would
all the
go
over
as
the
say.
interpret
exaggerating
by
present !
un
originallywritten,
footlights,so
ch"re,
spiritual,delicate, it
perfume
it
gu"re,
jeune gallant
Vous
is
song
n'aimiez
vous
Qu'un
The
present,
a
by
do
an
it
by
low
not
treating
mimic,
give
for
But
heavily,
example,
opportunity
you
ugly vulgarity
disappear.
it
will appear
after
having
DRAMATIC
30
added
in
AND
LYRIC
INTERPRETATION
with
wit
what
in
text
but
could
have
the
the
retain
the
elegance,
text, and
of your
fact
been
written,
perfumed
you
distinction
a
high degree
the
tions."
"amplifica-
to
augment
you
written
not
was
its value.
I shall
give
the
now
VRAI?
BIEN
DONG
;EST-IL
with
text
i
Est-il
done
Hum
!
Qu'amour
ait
vous
hum
Hum
soir
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
hum
!
hum
!
hum
!
hum
!
!
hum
hum
.
.
.
Qu'amour
.
.
ait fait
vous
cachette,
en
Qu'amour
ait fait
vous
d'un
Present
.
fait,
hum
Hum
soir
.
cachette,
en
.
.
.
.
.
.
.
.
.
.
.
hum
hum
hum
Hum
Ce
hum
fillette,
Gentille
Ce
vrai,
.
.
.
bien
.
.
.
bouquet?
2
il
Quand
hum
Hum
.
Vous
.
e"tiez
dit
.
hum
Sur
.
.
prit
!
.
entrefaites,
ces
.
dit
.
.
qu'il vous
hum
hum
hum
Hum
On
hum
hum
.
.
Hum
.
.
seulette,
qu'il vous
.
.
!
hum
.
.
.
Hum
On
surprit
vous
.
.
.
prit,
DRAMATIC
32
AND
fait
LYRIC
soir
ce
INTERPRETATION
each
en
qu'a-mour
ette
-
ait
vous
I
You
clearly
see
scenic,and
which
hums,
to
case
d'un
present
fait
how
dry
what
just
are
articulation
However,
an
I
"
a
and
it is
in
do
can
you
let
Now
of text, for
popular
thro'
The
the
otherwise
find
the
say,
which
"
and
the
the
word
must
be
or
solutely
ab-
only
a
question
of
him
for
wit, of esprit,
who
gift
wishes
to
which
without
little.
us
such
improvise
instance, in
English
the
song
you
reads
in
an
first
amplification
of
verse
all know
:
an
verse
plain English
old
Comin'
Rye.
first
respondence
"cor-
clear.
effectively,a
song
.
the
the
poetry
to
indispensable gift
sing
in
is needed
the
mean
fit
to
direct
.
.
is to
between
amplification
hum
text.
difficultysometimes
The
these
amplify
to
mated,
ani-
becomes
song
expressive by
augment,
somewhat
the
:
HOW
TO
PENETRATE
If
AND
body
a
Comin'
If
thro'
Need
kiss
Every
lassie
Never
one
let
body
a
Comin'
If
meet
thro'
Need
the
kiss
body
a
body
a
first
rye
.
.
why
not?
.
.
.
why
not?
.
why
not?
why
not?
why
not
why
not?
....
laddie
a
all the
But
They
And
You
have
one
I
well
me
....
the
all
see
worse
the
will
find
text, if you
your
Not
you
must
To
Of
song.
it.
are
many
?
I ?
opportunities
of those
easily
the
course
songs
the
in
amplification
by
you
require
it is needed
illustration
the
must
an
the
not's."
"why
penetrated
feel when
conclude
am
comic
multiple colorations
You
.
lads
loved
what
the
.
.
Never
with
verse
cry?
lassie has
Every
I ?
am
:
body
a
worse
body
a
laddie,
I ;
the
following modification
If
a
well,
the
sing
us
body
has
me
what
rye,
lads
loved
And
33
cry?
have
all the
They
a
TEXT
body
a
the
body
a
But
Now
meet
body
a
AMPLIFY
of
subject
a
of
abuse
not
amplification ;
and
of what
permitted.
we
have
DRAMATIC
34
called
you
'I
final
Jules
authors,
come
well
turned
called
me
a
following
sing
I
air
auriez
Je
ne
la fais pas
Je
suis
Bandeaux
Dites?
.Pai Part
J'ai des
Cueillez
Buvez
front
armes
Pour
que
Vous
n'etes
je
1'Eternel
Mon
But
C'est
moi
.
se
mes
visages,
davantage
me"
tende
de
me
.
moi.
e*gales,
la
nai'fs
main,
males,
Fe"minin
suis
voix,
ma
pas
perd dans
qui
non
pas
;
vous
que
fou?
les gouts.
pas
sont
ne
rendrait
tous
et
cherchez
Nos
suis
de
bouche
n'y vit clair
folle,
les e"coles,
toutes
Nul
me
vous
pour
ma
commit.
criniere
ou
;
;
plats
la fleur
n'en
la pose
a
on
ames
you
chose
g6ner
vous
Femme,
de
the
of
Femme.
quelque
de
tort
quel
could
thought
COMPAGNE
dit
vous
La
happened
which
La
:
PETITE
mon
favorite
my
words
the
title
the
Vous
Je
give
to
be
song.
were
NOTRE
Et
and
petiteCompagne,
under
Si
of
one
which
poem
into
Notre
day
one
Laforgue,
a
upon
The
shall
I
example.
reading
was
INTERPRETATION
amplification of text,
the
a
LYRIC
AND
!
les
la Grande
Etoiles,
Isis !
.
.
poem,
heard
HOW
PENETRATE
TO
Nul
m'a
ne
Ne
qu'a
air
mon
ne
Je
suis
When
you
theme
is
whole
will
of
that,
than
this
It is the
is
I made
Therefore
repeated
the
to
text
a
amplification
The
find
it is
the
You
of the
your
musical
songs.
suitable
music
who
you
have
of
mystery
in the
poem.
lines
four
my
refrain
I
gave
the
for
to
mimicry.
your
music,
without
really only
of
choose
you
written
poems
more
interpretation, amplification
of
where
cases
the
the
lines
opportunity
plasticity,amplification
In
in
refrain, which
my
tremendous
of
and,
the
of these
verse.
poetic
expressed
four
expressed
out
each
after
the
synthesis
first
became
They
leitmotiv.
wonderful
is condensed
poem
them
that
thought
those
In
in
connalt.
me
enigmatic femininity exposed
the
of
the
lines.
the
on
;
:
clearly
on
.
gener
attentively
see
based
poem.
totality
!
read
first four
vous
la pose
a
.
quelque chose,
de
Femme
La
you
poem,
dit
la fais pas
Je
35
oasis
.
tort
TEXT
voile.
mon
mes
vous
auriez
Vous
AMPLIFY
retrouss6
songez
Si
the
AND
must
feel the
must
you
for
among
songs
self
your-
text,
your
inspire the
rhythm,
setting corresponding
the
to
or
poser.
com-
color
each
of
is
WHAT
ATMOSPHERE
CREATE
TO
HOW
the
by
meant
of
"atmosphere"
a
song?
is
It
is
supposed
is
often
Do
believe
not
few
singing
singers
the
of
costumes
atmosphere
no
the
I
public
duped
that
by
What
The
will
style
shall
We
La
have
shown
is
voice
of
to
the
be
song.
wearing
it
in
in
was
of
honor
no
way
trick.
help
precious
most
once
Saint
atmosphere.
create
you
more
is
It
atmosphere?
create
take
de
Legende
I
The
!
two
Nevertheless
and
that
state
creates
songs,
created,
will
then
very
heard
I
Ages.
costume
which
style
Middle
must
that
ago,
modern
was
action
which
costume
months
some
the
importance.
it is the
A
which
because
placed,
without
or
vague
in
frame
be
to
atmosphere.
text
the
only
not
gift
as
of
an
all.
example
Nicolas.
in
you
the
treated
in
We
have
36
first
chapter
with
accordance
learned
how
that
the
the
colora-
HOW
tion
the
of
CREATE
TO
voice
ATMOSPHERE
is
one
37
of
means
creating
atmosphere.
Now
will
you
how
see
atmosphere
further
movements
given according
movement
we
of the
gives
the
theatrical
fact, the
episode
When
in the
a
By
rhythm.
sions
expres-
the
he
who
He
little
play
has
in
;
treating
an
life.
coloration
of the
Nicholas,
St.
song,
little drama
Saint's
spoke
we
the
Nicholas.
in
part
is
song
described
different
in
personage
it its title, is Saint
most
diverse
text.
the
meant
the
mean
the
to
your
plastic.
principal
The
the
style, by
is not
however,
movement,
By
by
define
can
you
so
to
of voice,
say,
vocally
we
and
rhythmically.
We
his
establish
must
of
atmosphere
personality.
When
sing
you
Saint
:
you
have
the
great
to
him
like the
show
dignity
him
imagine
alia s'asseoir
Nicolas
Dessus
have
the
now
les bords
by
of
way
the
de
of
ce
plasticmovements
You
Saint.
hustling around,
walk
saloir
but
cannot
you
will
majestically, rhythmically,
supernatural
human
being
he
really is.
You
the
create
to
drama)
if you
is due
de
St.
example
a
is
tool
the
the
state
death
he
the
discovery
his
to
indicate
note
of
enfuydaaaa !
audience
a
has
to
to
I
which
the
might
has
:
.
.
of his
.
crime.
of voice
We
throwing
The
out
the
butcher
is
to
have
the last
into
the
of
the
interpreter
indicate, discreetly but
plastically,that
get
discovered
butcher, frightened
of
note.
the
the
from
out
flightby prolonging
question
high
a
flee
of
mission
step
the
only,
accessory
by coloration
of the
tried
It is not
is
by
instance,
porte il s'enfuya
sa
of mind
indicated
himself
sees
tries to
and
de
he
does
once
tried to indicate
by
song
He
miraculous
the
Hors
have
action
of
(La Legende
us
for
that,
voice
when
Saint
We
pearing
ap-
persons
already
secondary.
background,
by
of
Only
Saint.
before
have
we
show
to
I
condensed
a
the
of
(and
song
importance
have
we
Nicolas)
butcher
such
a
as
song
each
to
song
coloration
the
of
him.
to
In the
each
at
give
the
in
INTERPRETATION
atmosphere
look
continue
as
LYRIC
AND
DRAMATIC
38
less
neverthe-
striving to
door.
mention
been
made
right
so
many
here
an
times
objection
by
critics.
DRAMATIC
40
Let
AND
de
another
et Marie
Joseph
VOYAGE
LE
INTERPRETATION
consider
therefore
us
Voyage
LYRIC
Bethleem.
a
JOSEPH
DE
Le
:
song
ET
MARIE
A
BETHLEEM
voici
Nous
Le
Roi
le
Est
plus habile
Marie
chere
Aliens
la ville
dans
hotellerie
une
Nous
Monsieur,
cher
horloger
cet
de
Rois.
des
loger.
pourrons
y
crieur
Le
Mon
de
Pres
"
"
le Roi
David,
"
autrefois
naquit
ou
nuit
:
II est
n'avez-vous
de grace,
6 heures.
point chez
vous
petite place
Quelque
perdez
Vous
maison
Ma
peine,
votre
devant
Tout
Joseph,
Je
Pautre
a
crieur
vue,
bras, de
des
Chez
Trois
vous,
J'ai noble
Je
hais
le
Monsieur,
Dans
votre
je
deux
vis
autre
part.
II est
7 heures.
a
vis
logis.
puis plus marcher
chercher.
pourtant
de
tard
peu
d'autres
ne
II faut
Gouronnes,
pour
seulement
vois
crieur
Le
Patron
je
:
nous?
pour
un
nuit
de
grace,
si lasse.
trouve
me
venez
laquelle est
rue,
notre
ton
vous
trop pleine, allez voir
est
Le
Passons
chambre
quelque
"
nuit
:
II est
logement
avez-vous
personnes?
8 heures.
Quelque
trou
?
compagnie
gueuserie
je
vous
en
dont
"
j'aurai du
dire, il suffit
c'est tout
prie, pour
hotellerie, que
nous
profit
F
du
amour
ayons
un
!
bon
lieu.
Dieu
Cherchez
du
autre
Cheval
Rouge
petit bouge,
des
pour
crieur
41
charpentier,
part,
point faite
n'est
Le
Madame
ATMOSPHERE
retraite
votre
maison
Ma
CREATE
TO
HOW
de
nuit
de
grace
II est
:
coin
quelque
quelque
Mais
je n'ai point de place, je suis couche*e
soir
Ce
O
la
sur
paillasse, sans
Sensible
a
Excusez
ma
je
pensee,
la
ne
chez
vous.
sans
draps
a
genoux,
chez
vous.
puis cacher.
trop avance*e, trop prete d'accoucher.
Etes
crieur
Le
En
Vierge
de*tresse,recevez-nous
ma
9 heures.
matelas.
aucun
dit la
FHotesse,
Madame
metier.
logez-nous
Dans
ou
de
gens
madame
attendant
Permettez
Tres
volontiers
Monsieur,
Assez
m'amie,
de
mari
mon
la
Bonsoir
Pie,
Dans
il faut
compagnie,
crieur
Petat
deplorable
II de"couvre
Stable
une
C'est
la seule
Ainsi
que
le
retraite
prophete
ou
Joseph
qui
reste
avait
a
le
su
(12 coups)
Noel!
II est
ne* le Divin
hauts
II est
ne
:
est
II est
son
heures.
11
re*duit
nuit.
espoir
pre"voir.
Le
crieur
:
Minuit
Noel!
Noel!
Sonnez
aller.
en
la sombre
malgre
?
se*parer
nous
nuit
de
minuit
a
nous
Blanc.
la nuit
dans
la porte
sur
le bane
le Cheval
qui crie ! il faut
Le
sur
! cria-t-on
garde,
moment.
un
repose
bien
ou
heures.
10
logement,
mettez-vous
bavarde
rester
C'est
la
voyez
causer,
Vas-tu
se
II est
:
j'aiun
que
femme
ma
que
nuit
de
enfant
bois,
le Divin
!
musettes
resonnez
enfant
!
,'
!
42
LYRIC
AND
DRAMATIC
Sonnez
hauls
Depuis
plus
bois,
de
Nous
attendions
II est
ne
cet
hauts
le Divin
n6
hauts
Sonnez
difficulties.
The
in
seeking
night
Then
show
you
wish
to
that
it is
the
of
and
to
I added
in
house
to
hour
of
approaching.
night,
in
listener
and
how
finding
I
atmosphere,
show
how
"
picture
and
a
because
"
the
the
voyage
How
atmosphere?
night, establishing by
supreme
is
"
myself
myself by
impress
delay
version
Mary
The
shelter.
this
create
final stage of the
the
house
midnight
"
and
Joseph
form
facing great
original
its
from
a
in the
therefore.
how
to
of
go
for
vain
legend
myself
in
arrival
impressed
be
this
text
delivery
Mary's
longtemps !
Noel!
found
They
Bethlehem.
musettes
!
Noel!
first
I
the
!
bois, re*sonnez
given here,
indicated
ans
re*sonnez
I reconstructed
When
;
evenement
enfant
Noel!
It is
mille
enfant
bois,
ans
prophetes
les
le Divin
Sonnez
II est
mille
plus de quatre
Depuis
longtemps
resonnez
quatre
annonce"
L'avaient
INTERPRETATION
this
the
shelter
the
must
if I
you
progress
progress
the
and
difficulty
until
the
last
moment.
then
to
the
originaltext
of the
song
HOW
the
TO
of the
cry
ATMOSPHERE
CREATE
watchman
night
43
calling out
the
hours.
I
with
began
first verse,
second
the
after
so
the
Naturally
be
far
in
from
a
The
Oriental
original
version
a
final
two
out,
as
verses.
be
created
round,
a
singer might
come
hear
you
if
as
times
some-
call to
prayer
mosque.
of
It
climax.
dramatic
stable
the
contained,
song
my
ended
could
he
where
Mary.
The
great
bright
or
of
poetic
emotion
was
of
magnificent
color
the
Mother;
triumphant
Neither
Divine
lacking,
glory
the
ended
there
no
no
was
apotheosis.
the
of
atmosphere
to
amplify
verse
classic
!
it too
with
countries, the
of
no
after
call must
drawn
minaret
sept heures
will not
a
The
do.
to
as
refrain
make
out
will
Mother
The
to
shouted
voice,
Divine
not
the
hours
long
II est
:
call is heard
Joseph finding
shelter
pains
was
distance,
moreover,
with
verse
after
!
pains.
atmosphere
generous
tempted
from
her
hours
the
by having
ample,
from
the
monotonous,
six
the
Sometimes,
on.
heures
that
before
pass,
relieved
be
and
to
six
est
indicating
still have
will
II
:
the
of another
coloring of
proved
to
voice
be
original text
legend
of the
nor
the
creation
siifficient.
by adding
same
I
to
had
it
a
period, the
Birth
and
LYRIC
AND
DRAMATIC
44
Christ,
of
gratitude
:
Noel!
bois,
hauts
!
longtemps,
hauts
Depuis
plus de quatre mille
bois,
plus
Depuis
de
Nous
attendions
II est
n6
II est
Let
illustrate
to
either
for
the
creating
time,
sometimes
amplification
in the
of the
case
of
text,
song
:
Renaud.
de Jean
MORT
LA
DE
Quand
Jean
Tenant
ses
Sa
Dit
mere
:
a
voici
Renaud,
Ta
femme
JEAN
Renaud
de
boyaux
dans
la fenetre
v'nir
Renaud,
est
mon
en
RENAUD
revint
guerre
ses
mains,
haut
fils Renaud
!
re*jouis-toi!
accouche*e
d'un
tion,
inspira-
both
for
or
an
you
will
in the
theme
a
give
can
song
an
!
which
example
atmosphere,
as
longtemps
Noel!
another
that
you
air of the
musical
!
enfant
Noel!
give
now
me
musettes
bois, re*sonnez
Noel!
ans
!
enfant
bois, re*sonnez
hauts
Sonnez
mille
;
e*ve*nement,
cet
le Divin
n4
ans
prophetes
quatre
le Divin
hauts
Sonnez
resonnez
les
annonce*
!
musettes
resonnez
Sonnez
I/avaient
same
!
enfant
ne* le Divin
II est
Noel!
enfant
ne* le Divin
Sonnez
glorious joy
full of
refrain
a
Noel!
II est
INTERPRETATION
roi !
or
at
La
for
the
Mort
HOW
Ni
de
coeur
peut
ne
Mere
faites
Mais
faites-le
Que
Et
quand
!
Ce
que
ce
fut
vers
a
rendu
Dites-moi
!
Ce
que
Ma
le
Ce
que
Qui
Ah
Renaud
Et
Terre
son
Terre
ici?
ne*.
mamie
mere
pleurez
et
mort
aussi?
vous
soit
le trou
y
s'ouvrit
rendit
1'enfant.
fends-toi
roi !
mon
terre
;
grand
assez
terre
"
"
deux
pour
aussi
mette
ouvre-toi
enterre*.
fossoyeu
au
la fosse
creuse
la belle
c6t6
nouveau
j'aillere"trouver
Que
Et
d'a
dites
qu'on
Pour
mamie
mere
puis le cacher,
ne
mere,
que
ici?
la maison.
de
done
est
Qu'il
mamie
procession
tour
perdu
fille
Ma
ici?
j'entends pleurer
Pourquoi
Ma
la
Dites-moi
!
mamie
chanter
j'entends
la voisine
a
Pesprit.
mere
Dites-moi
C'est
minuit,
Pescalier.
fille c'est
!
le
charpentier
Dites-moi
Ah
pas.
clouer
j'entends
Qui fait le
si bas
mere
Qui raccommode
Ah
lit !
un
n'entende
fille c'est
Ma
transit,
dresser
Renaud
Ah
fils,
mon
me
dresser
45
re*jouir.
se
qui
femme
ma
Jean
ni de
la mort
sens
ATMOSPHERE
femme,
ma
Mon
Je
CREATE
TO
se
fendit,
Pesprit.
!
Renaud,
Jean
is
wife,
is in bed
out
for
sees
him
him
feels
mother
to
wife's
room,
return
birth
that
he
might
she
death.
He
child,
a
and
die
She
joyously,
announces
child.
asks
his
from
his
either
his
and
far
away
not
know
expires a
But
time
short
his arrival.
wife, however,
Renaud's
in
movements
the
hears
She
coffin.
she
will
to
him
his
of
wounded.
castle.
the
greets
laid
him
that
of
century,
keeps looking
wounded,
the
have
his
or
after
she
she
he is
that
triumphantly
Renaud
mother
tower
approaching,
knowing
not
the
on
birth
just given
Renaud's
but
;
grievously
war,
has
who
INTERPRETATION
of the fifteenth
knight
a
from
returning
His
LYRIC
AND
DRAMATIC
46
the
sad
four
sion
the
the
end
of Renaud.
that
in each
reappear
fait
le
who
tour
unusual
noises,
strange
of
nailing
funeral
last the
mother,
measures
qui
at
the
will notice
You
house,
hammering,
hears
questions
admit
the
the
notices
the
procession,
finallyhas
verse
to
ing
the follow-
:
de
la
mai
-
son
!
DRAMATIC
48
AND
LYRIC
INTERPRETATION
DAUGHTER
Ah
!
Ce
que
dites-moi,
ma
mamie,
mere
j'entends pleurer
ici?
MOTHER
C'est
la voisine
Qui
Before
Notre
Petite
remember
use
as
a
of
the
to
Laforgue,
have
we
cussed
dis-
amplification
was
the
amplify
of the
a
of
explained
how
appeared
as
poem,
after
the
I tried
the
me
wanted
by using
song
to
refrain
a
establish
to
the
tite
Pe-
Notre
I
of
meaning
that
which
poem
I have
which
remained
It
mentioned
I
song.
the first verse,
sence
quintes-
each
verse.
of
atmosphere
song.
The
little
of the
words
(it means
in
which
from
the
mate")
easilyimagine
table
in
one
cigarette
gipsy
band.
of the
and
Notre
lives, is
her
that
indicate
poem
point
could
a
which
wish
I
Jules
by
song
speaking
Compagne
the
chapter
text.
You
to
ne*I
nouveau
Compagne,
when
cote*
this
to the
again
once
to
son
concluding
return
the
perdu
a
d'a
Petite
of view
rather
men
frivolous.
a
mosphere
at-
Compagne
of
sittingat
Parisian
the
"Our
We
little marble
night cafes, smoking
listening to the
playing
of
a
You
HOW
TO
have
heard
and
music
a
favorite
I
You
strains
the
hear
have
You
of
the
her
every
line,
in
.
.
.
half
ing.
recit-
that
you
pictured
detail,
her
by
her
by
eyes,
the
of
the
almost
phere
atmos-
outwardly
lips
keeping
by
hands,
sensuality
provocation
arms
waltz,
atmosphere
soul
her
chosen
band.
say,
may
every
by
impression
the
woman's
the
cigarette,
perversity.
I
have,
have
halls.
singing,
gipsy
a
only
not
You
song.
in
of
arette,
cig-
a
popular
a
dancing
the
you
smoke
I
of
half
song
under
are
air
and
the
I
why
the
song
and
song,
singing,
cabarets
giving
49
the
understand
this
of
am
sing
when
you
for
ATMOSPHERE
me
why,
understand
as
CREATE
.
.
.
.
.
.
EXPRESSION
THE
OF
FORMS
It
OF
%"
qpptw
in
expressm
TV
on*
exterior
wh"i
and
of
fonn
show
xvm
when
yau
have
TQU
Awe
to
art,
interior
*n
fonn
of
is
expne^on
tnpc
aie
of
font
two
are
drunatie
font
exterior
n
DIFFERENT
TRAGEDY
{lift
"*
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describe,
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to
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ui^
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ts
be-
*.
v"""m
or
that
prevkwdbapferrf
The
bro-
wag
told
to
kffl b"
her
to
of
a
MMP
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la
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a*
-nucEDT
ipMMI
""
who
oat
mt
and
to
bring Iw
ibe
wo
nr
do^
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fflnrtrate
to
diafl
dwoH
with
Both
the
(fiCmwie
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die
h*"g
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low
iype",
_*
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athen.
of
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her
noCWr'f
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irter-
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Now
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mother
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uagic
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a
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01
the
52
DRAMATIC
on
the
than
of
its
for
a
out
the
exterior
Parisian
typical
a
the
prostitute,
has
She
horrible
for affection
she
and
second
song
She
the
under
mentality.
senti-
has
is
it in the
finds
"
her
profession
heart.
her
choked
wears
sidewalk.
annihilated
wholly
not
Her
entirely
form
expression
streetwalker.
stones, les pierres, of the
Vice
our
the
Pierreuse.
is
word
circumstances
by
more
illustrates
is La
tragedy
INTERPRETATION
wickedness.
own
which
song
The
LYRIC
crime
of
way
by
The
AND
not
yearning
of whom
type
title Ma
T"te
"
speaks.
This
type
is the
He
in
his
for
help,if
one
in
consisting only
The
Of
Apache
third
verse
girl describes
the
the
the
of
his
moral
morality
which
hardly
song
you
La
execution
written
are
Pierreuse
La
language
However,
of
care
the
word,
indicated
neither
course
Francaise.
woman
physical congeniality.
a
speaks
a
affection
an
have
I
songs
slang.
V
beyond
goes
such
revolver
other's
each
are
Apache.
The
takes
protection
use
may
L'
Pierreuse, with
in his hand.
; both
welfare
material
ever
of La
always ready
return
call in Paris
we
protector
knife
or
is what
of
the
Pierreuse]
her
nor
Acade"mie
[in
understand
of
in
that
lover.
the
the
DIFFERENT
FORMS
JTapergois
la-bas
.
Le
lui
cure*
OF
parle
.
TRAGEDY
la porte
sous
.
la
bascule, il faut
.
camarade
On
Ftemps
pas
Pcouche
L'bourreau
!
Tombent
Hue
Ppanier
c.a s'fait vite
him
sees
accompanied
he
is not
to
the
very
out
time
his head
In
by
the
L
the
in
'Apache
the
who
who
him
the
on
prison door,
him
consoles
;
is almost
carried
is in
crowd,
the
In
courage.
block
M
a
T"e,
the
and
no
knife
will
the
of
the
see
V
of
sometimes
"
the
under
programs
prison guard,
hour
of the
he
give
almost
situation;
the
;
.
out
to
execution
same
that
.
pal,
my
describes
the
son
!
.
A
song,
verse
by
I
done
executioner.
you
"
Aie
!
;
priest
is put
other
appeared
!
courageous,
him
to
bois
en
fois,
!
the
by
calls
deux
de
stepping
scaffold.
lowered
Pdire
done
Pi, Quit
She
.
tronc
dans
C'que,
de
tire le cordon
t"te, le
.
!
la chose
sur
Tirelitipiton
La
.
Pappelle de loin
Pi, Quit
n'a
.
.
qu'on Pporte
.
Y
.
.
.
Un
.
temois
sans
.
Sur
53
in
same
expiation
The
last
words
the
is awakened
condemned
who
announces
has
title
sode,
tragic epi-
same
Apache.
the
it
arrived,
to
him
fte is
DRAMATIC
54
the
prison, approaches
his
Between
for him
enough
death, of
he
has
him
the
of
"
Et
puis voila
Parcequ'il
Et
faut
puis
C'est
.
.
Death
de
supreme
beau
jour
la
;
consoles
headed
bare-
exonerates.
.
.
.
vanne"
guillotine.
.
.
.
votr'toilette
Faites
la foule
J'sortirai
basket
m'dira
on
!
matin
ce
pour
of his
j'suiscondamne*,
.
qu'j'attende pale,
un
long
saluting
crowd
prouve* qu'j'assassine
est
L'moment
Et
whom
man
the
this
perhaps
"
respectful
a
the
vision
is
full vision
the
his
and
it
but
pass,
rollinginto
off
cut
of the
out
door
prison
conceive
his head
even
the
only
to
walks
scaffold.
leaving
seconds
execution
INTERPRETATION
execution, he
the
for
dressed
LYRIC
AND
!
saluera
...
Ma
Now
we
in each
have
tragic episode,
But
seen,
La
the
case
in the
case
in
the
experience
death.
lover
Pierreuse
marching
the
of
the
Pierreuse
Apache
will look
toward
of
in
guillotine.
the
drama
is
it is lived.
emotion
emotion
poignant,
same
communicating
it is the
it is not
La
La
of L
is
song
drama
the
of
Pierreuse
emotion, but
!
tete
of
L1
to
death
Apache
deadly
death,
us
but
she
who
fear
L*
her
sees,
will
at
her
Apache
DRAMATIC
56
outside
of the
prison
enough
not
Within
short
a
scaffold
the
there
I have
only
art, be it
is
there
an
Corneille, or
else than
Its
the
center
of
a
of
tragedy,
a
for
modern
the way,
because
beyond
the
In
plies
ap-
fact,
dramatic
comedy,
as
antique tragedy
the
Racine
or
is
song
nothing
drama.
is
difficult
as
you
bear
the
collaborators.
whole
and
You
burden
are
you
You
spot of it is by
dispute
it is easy.
as
because
unhampered.
stage, each
of tragedy
song.
repeated,
condensed
of
a
or
an
simple
a
often
between
tragedy by
interpretation, easy
inferior
a
the
was
expression
interpretation
one
even
and
on
Paris
interpretation.
interpretation
Difficult
of its
a
kept
lyric interpretation, it
to
technique
one
I have
in
distinction
form
opera,
by Euripides,
As
is
"
of
spite
scaffold.
my
dramatic
to
is
in
"
crowd
a
Roquette
interior
applies only
there
is
think
not
or
also
crowd
the
prison
witnessed.
do
exterior
the
torment.
tragic episodes,which, by
never
Now
from
itable
char-
are
his
prolong
the
la
de
of these
scene
authorities
The
from
Place
; the
to
is erected.
great distance
INTERPRETATION
distance
early hour,
The
LYRIC
AND
your
beyond
are
dependen
in-
alone
are
will the
the
the
envy
only
DIFFERENT
star, you
are
sometimes
TRAGEDY
57
stage manager,
own
your
librettist
own
your
If you
are
you
and
composer,
loyal to yourself, you
are
critic and
own
will very
talent
instead
instead
you
will
train
and
above
you,
you
little
play
of routine,
observation
vulgarity,
of
and
man
for your
"
mankind
studying
by
your
reliable.
most
judiciously provide
distinction
around
will be
property
own
your
vital accessories
which
the
perhaps
will be
You
the
OF
costumer.
your
of
FORMS
all instruction
instead
ignorance.
We
unfortunately
are
dramatic
of
standard
widely
are
who
one
every
opened
vocation
for
the
Not
carrying
hours
to
knock
will
woman
go
on
the
For
least
in
the
days
the
without
or
stage,
in
baggage
; but
the
great majority
them
art
long,
young
a
total
could
power
artists
dramatic
of
or
twenty-four
spite of
their
of
some
of art, which
to
of his
door
within
decide
nourishment
our
the
at
studies
of letters and
intellectual
with
to
"
musician, painter,
him
with
preparatory
to
doors
wrongly
or
enter
modest
most
without
or
rightly
"
ideal
the
which
to
the
from
it.
will dare
man
art,
wishes
sculptor
laborious
still far
"
the
noranc
ig-
afford
of
"
pression.
ex-
at
inter-
DRAMATIC
58
in
preters
of
men
LYRIG
AND
and
act
INTERPRETATION
of
gesture
letters,know
little
the
thought
nothing
or
of
about
literature.
The
dramatic
shows
result
cannot
the
to
of his
public his
which
work,
intellectuality,
solidly
Without
There
knowing
is
You
are
will
your
of
In
in
beauty,
how
the
be
The
dramatic
for
come
sound,
beautify
to
the
He
a
the
artist's
truth;
however,
and
from
mission
he
has
faithfully
in his
must
ugly
cruel
his
he
must
assassin
crime,
only
art
an
flect
re-
nature,
His
art
marble.
his
color,
us
a
beam
of
hope.
to
the
fold
scaf-
God
not
and
show
let him
but
shall
painter.
a
goes
before
artist
its servants
from
creation.
your
dramatic
rehabilitated
but
arts
bility
sensi-
presenting despair
expiate
to
second
intellectuality.Your
truth.
presenting
Show
bility
sensi-
life.
human
the
intellectual.
intellectuality.
you
give mechanically
imitation
on
knowledge.
be
cannot
based
combine
human
present
to
of
that
be
on
without
inspire you
It is true
not
Art
creation, the
to
founded
artistic when
more
final
ought
you
real
no
with
is to
without
create
worked.
having
He
artist
in his last
and
be
a
shall
men.
rapher,
photogall
have
inspiration
from
ray
shall
harmonious
THE
THE
COMIC
SPIRIT
EXPRESSION
OF
IN
JOY
AS
COLORS
GRAY,
"
PURPLE,
BVEKY
human
of
amount
However,
or
lose
This
it
has
Nature
but
body
find
that
or
a
nervous
oneself
You
gift.
gift
time.
from
nature,
You
have
with
the
to
gayety
not
which
character.
59
of
sense
only
healthy
of
do
You
a
it
with
generally
goes
health.
of
character
a
of
capable
nature
given
also
impregnate
it
not.
imbued
person
action.
a
precious
quately
ade-
dramatic
natural
a
acquire
to
that
gift,
sick
of
gift
to
an
even
interpret
to
tragic
requires
your
have
you
able
how
study
will
you
be
spirit
a
or
song
certain
a
therefore
able
be
may
to
comic
cannot
possesses
sensitiveness,
tragic
a
RED
being
artist
average
with
AND
ACTERIZED
CHAR-
to
refused
see
a
comedy.
the
mind.
equable
is
not
other
an-
healthy
will
You
disposition
to
a
is
cious
capri-
60
DRAMATIC
The
AND
comic
gift.
It
Latin
than
his
that
in radiant
The
of
French
and
French
and
southern
this
of
and
The
lack
would
I
not
do
a
Henri
of
famous
mists.
is in
the
essentially
so
word
fact
has
remained
which
sun,
is
in
tropical character, ripens
time
same
not
and
our
ginger
of
the
Briton
have
you
by
phere
atmos-
an
ale.
his
is
verbial.
pro-
heard
ever
and
journalist
ort, known
of
sense
in
prosper
whether
French
Rochef
developed
untranslatable.
humor
know
the
French
the
at
of ice-water
which
sense
France
which
humor,
that
the
if I
"
dependent
Scandinavian
intellect, is
that
wine,
is also
race
in the
unique,
in
capacity
spiritis surely more
French
May-be
of
a
esprit of France,
humor
sense
situation.
than
Italy
comic
of
"
of
gayety
national
a
greater
a
possesses
the
geographical
The
even
Anglo-Saxon.
this word
use
our
the
INTERPRETATION
sometimes
race
be
might
may
on
spiritis
The
of humor
LYRIC
polemist,
espritand
tic
caus-
wit.
He
thought
compliment
than
words
Gloire
de
faire
d
he
could
not
by dedicating
a
me
pay
to
me
higher
the
lowing
fol-
:
Yvette
rire Us
Guilbert.
Anglais.
Elle
a
trouve
moyen
THE
COMIC
(Translation:
She
indications
Spirit,I
have
You
gayety
presume
of
and
the
that
of Comic
genuine
are
you
nature.
realize
course
directions
you
expression
to
gift of
at
which
humor,
by
nature
but
the
that
once
prevail
weights, determined
created
measure,
laugh
to
will
different
have
regard
Guilbert.
English laugh.)
give
to
in
61
Yvette
the
making
of this
possessors
for
I have
If, therefore,
or
Glory
in
succeeded
SPIRIT
by
the
in
you,
natural
a
itself
the
.
.
.
!
Not
laugh,
your
There
humor
which
which
which
humor
is
laugh
produces
produces
produces
smile,
a
humor
big laugh,
a
almost
roaring,
a
produce.
you
hysterical
laugh.
That
the
I
Red,
for
each
Purple,
if I
Now
expression
of
that
The
neutral
is
to
French
humor,
produce
:
Le
of
have
Spirit, I
color
different
a
of
Gray
in
Spirit,I
Comic
expression
color
a
Comic
by examples
Gray,
"
Vermillion.
and
the
illustrate
to
shade
speak
indicate
of the
able
shades
different
chosen
be
might
quiet
what
sourire
indicates
and
reference
do
call
du
coin
wish
an
to
is monotonous.
distinction
the
refined
we
not
to
so
de
gayety.
elegantly
la
Ibvre.
It
in
A
smile
the
on
INTERPRETATION
LYRIC
AND
DRAMATIC
62
lips,as
of your
borders
might
you
say*
The
what
La
song
INUTILE
DEFENSE
LA
Toutes
stecle) ;
XVIII6
(Rondeau,
m"res,
ces
se*veres
Toujours
d'aimer.
fillettes dependent
leurs
defense,
Vaine
brftlant
feu
D'un
Penfance,
d"s
Quand,
se
on
On
sent
de*jamalgre* son
On
sent
de*ja
Qu'on
faite
est
Lorsqu'on
Coiffure
innocence,
-#
""
ga.
pour
soi toutes
fait
Qui cherche
ces
peines-la?
a
sourire,
plaire
Bient6t
aimera
On
sent
de*jaque
On
sent
de*ja qu'on
on
;
le
On
tremble,
On
a
Fair
cceur
est
vous
faite
peint la flamme
brtile notre
Dont
;
admire,
nous
Quand
enflammer
arrange
pour
nous
L'on
sent
Fontange,
Prend-on
On
illustrate
just explained.
I have
A
will
Inutile
Defense
on
ame,
rougit,
interdit.
inspire,
pour
c.a.
DRAMATIC
64
second
The
LYRIC
color
we
spiritwhich
comic
which
and
have
chosen
is
Spirit
produces
consider
I
INTERPRETATION
Comic
of
expressions
in
AND
a
the
for
our
Red.
The
big, hearty laugh
limit
of
good
taste
comedy.
Of
so
course,
just as
have
farcical
we
have
we
farces
We
songs.
the
on
avoid
must
exaggerated interpretation, drifting
avoid
all the
give
same
and
brightness
the
slap-stick of
the
the
to
into
an
garity,
vulbut
clown,
joyous
dilute
not
stage,
all its
Red
the
with
color
water.
title of
the
song
It
peine!
A
is
a
is
and
he
slips and
up
and
is
he
going
falls in
quite
the
his
such
in
him
at
ashamed
a
her
to
door
how
he
but
;
puts
at
step into the
When
sweetheart,
quite
aware
the
door,
he
her
that
manner
and
de
cause
visit to his sweetheart,
mud.
a
a
song.
silly,tells
make
to
approaches
ridicules
off
peasant
knocking
moment
very
farcical
rather
chosen
I'amour
is Que
dress
Sunday
have
color, I
red
which
boy,
peasant
his
on
the
illustrate
To
gets
mother
he
of
runs
his
silliness.
The
song
contains
it is
entirely
of
sillyboy,
a
famous
matter
a
valets.
a
type
powerful
no
of
you
comic
interpreting
find
among
action,
the
type
Moliere's
THE
As
will see,
you
in
the
song.
in
the
mood
the
In
COMIC
there
This
first
is
have
you
self-satisfied
vanity.
on,
as
he
best
suis
un
the
In
his
countenance
little ;
a
has
boy
his
and
a
put
big hat.
he
him
make
you
knocks
she
but
door,
express
indicate
to
The
shirt
refrain
second
to
verse
ilfaut!
comme
gars
have
you
naive,
Je
each
to
verse.
refrain
says,
65
refrain
a
refrain
each
of
SPIRIT
lose
his
at
his
heart's
sweet-
hesitates
rather
to
open.
his
Then
wet
accident
Here,
pavement.
almost
like
without
not
and
his
embraces
the
again
have
he
his
is
that
snout"
away,
her
feels
almost
like
is confused,
him
back
a
beaten
stammering.
heart,
sweet-
voice
tells
"wipe
His
he
of
lessness
help-
into
dazzled,
dog.
content
his
rough
to
it
hear
is
back
umphant,
tri-
not
you
to
created
ashamed,
again,
up
logger-head,
is not
is whining
is
He
him
throws
He
!
"
the
but
grinning;
calls
he
;
way
the
on
his courage
recovers
verse.
the
found
daughter
getting
awkward,
this
of
girl's mother
She
is
sweetheart
rather
refrain
to
He
He
slips
refrain, he
the
difficulty.
but
in
in
child.
a
he
happens,
him
his
creeps
last
frain
re-
66
DRAMATIC
L'autr'jour
voir
D'aller
Et
pris
PEINE
DE
vie
en
(bis)
Ysabeau,
mon
grand
mon
prit
me
belle
ma
INTERPRETATION
CAUSE
L' AMOUR
QUE
Je
LYRIC
AND
chemise
jolichapeau.
Refrain
:
Ah
! que
Pamour
cause
de
peine,
Ah
! que
Pamour
cause
de
maux
Je
pris ma
Et
Belle, belle
"
Je
suis
chemise
belle
grand
mon
un
gars
! que
ta
ouvre
Je
suis
Mais
Je
la
un
gars
Mais
Je
la
porte ;
il
comme
faut, (bis)
place dtait mouillee,
Pamour,
place
!
saut
:
etc.
e"tait
glissiset j'fisun
Quand
!
:
ta
ouvre
Refrain
! que
;
etc.
glissiset j'fisun
Ah
porte
il faut
comme
Pamour,
Belle, belle
"
(bis)
joli chapeau,
Refrain
Ah
!
mouille'e,
saut, (bis)
j'fus relVe", a grand
J'embrassis
mon
peine
Ysabeau.
Refrain
:
Ah
! que
Pamour
cause
de
peine,
Ah
! que
Pamour
cause
de
maux
!
!
THE
COMIC
SPIRIT
^p
L'autr'
il
jour
fprit
me
67
en
vi
-
d'al
e,
-
-
ler
2
voir
Y
mon
beau
je
pris
d'al
beau,
sa
-
ler
"
plus bell' che
ma
-
voir
mi
se
-
Y
mon
Et
-
sa
mon
f^
grand
jo
li
-
cha
-
ah'
peau
qu'Pa-mour
caus'
-b-
"3*1
:?-?-"
pel
-
ah
ne
J'embrassis
Qui
qu'l'a
j'fus releve"
Quand
Mais
!
sa
grand
! que
Mais
Qui
"
sa
:
"Vilain
Crou^-tu
Pour
Pamour,
peine
lourdaud
!"
:
etc.
e"tait derriere
mere
dit
me
maux.
e"tait derriere
mere
Refrain
Ah
de
caus'
(bis)
Ysabeau
mon
dit
me
a
mour
:
"Vilain
que
te torcher
ma
lourdaud
fille est
le museau?"
!"
faite
(bis)
de
DRAMATIC
68
LYRIC
AND
INTERPRETATION
Refrain
Ah
Pamour,
! que
"Croue*-tu
Pour
torcher
te
Ma
etc.
fille est
ma
que
Pamour,
remains
There
:a
etc.
illustrate the
to
now
spirit which
comic
of
b6te
nigaud.
un
Refrain
! que
(bis)
Pair
j'partiscomme
Ah
faite
le museau?"
foue*,je m'sentis
Que
:
have
I
sion
expres-
qualified as
Purple.
I
choosing
am
du
UHdtel
The
song.
Latin
I used
action
the
see
the
of
as
a
song
your
the
interpreter
French,
the
railleryin
purposely
The
based
accent.
immobiles,
of the
dicate
in-
voice
is in
their
wish,
in
their
not
hear
but
humor
even.
listener
The
comic
Chansons
song
student's
a
is not
if you
meaning,
double-meaning
; it is
any
Their
a
song,
coloration
any
called
song
song
on
songs
comedy.
their
words,
the
nor
call these
to
gesture, hardly
no
of
a
modern
a
Quarter
comedy
comic
any
It is
8.
Parisian
of the
on
No.
example
an
as
has
lack
to
eyes
shall
;
of accent
appear,
pince-sans-rire,a
you
will
in your
as
we
tuate
accen-
voice.
say
in
comique-"-froid
THE
(I
do
know
not
be
SPIRIT
"sly
a
60
translation
adequate
an
might
nearest
COMIC
one"
; the
"cold-storage
a
comic.")
L'HOTEL
DU
J'habite
premier,
Au
Fhdtel
a,
Des
lits de
Et
A
de
II
n'y
A
Th6tel
du
voisins
Les
Et
qui
Th6tel
On
y
des
comme
lave
je
serviettes,
crois ;
les assiettes
regne
;
courtois,
tres
peigne
le mdme
tous
du
bois,
3 !
sont
avons
nous
aises,
punaises
fraternite*
y
en
modele
seul
No.
grande
Une
de
grands
c'est le chien
Et
lits
leurs
3 !
No.
sont
;
divine,
aient
des
sortes
du
bourgeois
un
tous
fer et
qu'un
a
me*decine,
3 !
que
toutes
draps
Les
comme
No.
pour
Phdtel
de
magnifique,
du
II y
A
tout
demeure
Une
A
pr"s de Pecole
3
Xanrof)
de
(Chanson
NO.
3 !
No.
parfaitement vot'chambre,
fait
,
la balaie
On
m"me
.
Mais
A
Tant
Les
du
dans
roule
cheveux,
clients
Phdtel
ni Pambre
3 !
No.
potage
de
quelque fois,
n'sent, ni le lubin
I'h6tel du
Notre
A
$a
.
.
s'en
No.
que
font
3 !
ses
chaque
faire
des
vagues,
mois
bagues
DRAMATIC
70
La
n'est
bonne
Mais
lui fait la
On
I'hdtel
A
You
colors
du
minois,
au
famille
en
cour
3 !
No.
remember
that
which
I have
by
expression
comic
pas
fille,
belle
tres
une
pas
n'tenons
nous
INTERPRETATION
LYRIC
AND
I have
of
shades
Purple,
Red,
Gray,
"
the
indicated
four
of
spoken
and
Vermillion.
I
have
given
not
in
Nothing
the
of
even
grimaces"
a
of songs,
words
of
trace
the
grimaces
during
the
their
face,
low
which
well
as
as
such
of
century
by
of
maces
gri-
comedy
on
Pont
the
consisted
faces, which
made
Neuf
mainly
their
in
not
grimaces.
in
France
the
Italian
who
by Sca^amouche,
comedy
show
know,
we
introduced
were
seventeenth
jesters,headed
Their
of
comedy,
"comedy
coarse
utility even
These
their
the
grimaces
"
of
casion
oc-
an
voice.
of
The
call
would
I
which
songs,
offers
expression
utilizing an
of
French
of
period,
remote
most
spiritcorresponding
color.
literature
the
Vermillion,
comic
last named
the
to
the
illustrate
I cannot
because
of
example
an
exhibited
in
Paris.
distorting
public,
a
crowd
of servants, soldiers,chair-carriers,bar-keepers,
and
street-loiterers
laughter.
of
both
sexes,
roar
with
72
DRAMATIC
forehead
verity
a
was
impossible
of
nature,
mouth
comedies
should
of
sense
us
a
possession
of
humor.
and
or
seen
as
it
is
of
company
of
brilliant
actor.
has
presented,
in
them
bad
decidedly
assemble
to
a
satirist
delicate
Moliere
while
But
farces.
none
properly
Moliere
of
a
probably
And
each
low
as
he
writer,
his
that
his
paint
to
.
played
in
INTERPRETATION
how
ears,
concluded
.
.
was
his
of
or
larger
be
LYRIC
AND
that
will
see
humanly
players,
divine
gift
THE
IF
appear
you
in
play
it
shall
I
art,
the
the
the
it will
It
is
the
less
or
the
a
of
tears,
Can
stepping
towards
to
or
you
on
the
an
A
perfect
less
or
imagine
a
platform,
public
with
singer,
73
indifferent,
moved
to
the
than
dividual.
in-
for
instance,
up
hurriedly
racing
long
personally
easier
especially,
dividual
in-
nevertheless
is
laughter
the
each
be
might
is
"
between
while
audience
crowd
art
artist.
that
more
your
prepare
discord
a
the
audience
receptive,
sensitive.
most
of
fact
large
ensemble
expressing
must
by
exterior
before
even
experience
shocked
well-known
a
of
more
will
be
not
and
art
of
appearance
it
art,
your
body.
that
say
absolute
of
your
opportunity
that
public
and
sing
to
or
an
expression
and
physical
your
that
the
further
be
to
stage
a
opera,
must
singing,
or
go
have
you
there
on
or
in
sing
to
between
acting
ART
platform
a
or
song,
harmony
be
on
drama,
a
simple
a
PLASTIC
steps
and
swing-
74
DRAMATIC
ing
will
tried
imagine
with
what
receive
the
greatest artist,he
and
the
most
artist from
The
the
noble
LYRIC
if he
as
arms,
you
AND
INTERPRETATION
catch
to
hilarity the
artist?
or
eminent
train
a
she
It
talent
audience
the
be
might
will appear
Can
?
grotesque
will not
the
save
ridicule.
artist
must
be
able
stage gracefully, his
simplicity,not
pompous
to
carry
attitude
nor
himself
must
be
on
of
ostentatious.
PLASTIC
THE
have
If you
the
from
further
established
once
plastic point
and
harmonious
ART
mold
of
75
your
view,
will
go
time
in
of
your
pronouncing
any
the
with
accordance
you
each
body
your
personality
text
songs.
I
do
not
that
think
I
am
startling principles by saying
sing
the
attitude
legend
as
you
of
a
Saint
would
with
sing
a
that
the
you
same
Bergerette
cannot
p"lastic
of the
76
DRAMATIC
LYRIC
AND
You
eighteenth century.
of
with
Cowboy
a
would
you
sing
will
keep
limited
limited
his
knowledge
may
that
instinctively,
the
the
of his
plastic quality
shall
how
and
vast
shall
find
of the
structure
Can
of
a
tragic attitude
Can
of
you
the
how
is, and
we
the
of
is
body
principal
art.
could
you
with
tude
atti-
an
express
comedy
in
attitude
?
love
words
or
is
art
chapter
time
same
words
interpret a
violence,
of this
tragic
or
his
of
foundation
dramatic
comedy,
see
body.
plasticity
at
express
you
foundation
this
the
and
You
be, however
may
course
deep
that
foundation
in
in the
see
stinct
all, in-
at
be, feels vaguely, but
talent
We
on.
so
it.
doing
as
ever
interpretative artist, how-
the
his
and
experience
from
you
song
plastic attitude
Soldier's song,
no
the
sing
cannot
same
have
that
therefore
the
a
if you
Even
INTERPRETATION
of
song
passion
an
with
folded
arms?
Can
you
sing
outstretched
arms
knees
your
You
be
a
which
see
?
for
sculptor
the
a
No
which
song
sing
or
No
!
yourself
the
who
words,
!
gives
the
to
a
is
a
warrior's
dramatic
his
prayer
song
with
on
artist must
body
the
attitude
of
his
song
thought
quire.
re-
THE
let
But
the
of
sculptor
by
enough
must
you
learn
beauty
instinct
the
can
by
!
If
to
embody
just
the
of
contemplation
Do
not
think
that
at
as
art.
your
and
these
of
gifted
conscientiously
of
sculptures
a
plastic beauty,
of your
education
merely by looking
not
always
not
are
you
as
be
acquire experience
you
contemplation
say
it
77
artist
technique
By
beauty?
ART
dramatic
learn
you
How
PLASTIC
in
plastic
By
eyes.
paintings.
works
of
art,
them.
the
costume,
I
however
DRAMATIC
78
AND
beautiful
lack
typical
or
as
it may
be,
the
in
ungraceful
of
attitude
the
of
your
be
may
if your
it, but
spite
hide
can
dress
Your
make
can
you
clumsily posed,
legs
are
will
body
your
as
of
magnificence
costume.
your
sufficient
It is not
have
must
one
the
also
the
have
to
of what
body
but
only,
face
sings
one
plays.
or
Isadora
tragedienne
Sarah
Bernhardt
In
have
been
enthusiastic
an
I
and
me
cast
to
the
that
sure
almost
body
my
sculpture
this education
develop
to
admirer,
ardent
of
life
all my
through
an
observer
much
very
to
am
later
only
not
great dancer.
a
and
a
Madame
comedienne;
or
was
youth
my
is
plastically speaking,
Duncan,
sublime
I
INTERPRETATION
plastic beauty.
of
ample
be
LYRIC
and
but
ing,
paint-
has
helped
and
plastic sense
my
instinctivelyaccording
style,the period,
the
and
meaning
of my
song.
Just
as
be
you
must
song
; then
instead
nature
Now
few
be
must
you
intellectually,
will
examples
role
will appear
creation
your
because
important
or
plastically,impregnated
Your
of studied.
I
mentally
art
your
nature
give
you
of
my
which
your
instinctive
will become
your
is art.
one
songs
the
by
after
to
another
illustrate
plastic part
a
the
plays
AND
LYRIC
movements
of
DRAMATIC
80
expressive
and
hands,
than
more
INTERPRETATION
his
body, legs, arms,
the
by
of
movements
his face.
Each
be
to
words
the
expressed by
with
pantomime
a
replace
may
spirit,the thought,
the
but
movement,
is
play
the
of
Some
words.
each
or
song
plastic
a
remains
attitude
the
of
body.
Sully
a
sublime
a
the
on
danced
him
see
plastic
long tunic,
hidden
under
perhaps
visible
to
dance.
the
Greek
called
them
and
Even
was
were
He
art.
their
ing
play-
revelation
a
dressed
though
of
plastic expression
the
costume,
his
of
in
a
body,
plainly visible,
was
understood
elasticity and
all the
same
that
give
to
to
will
flexibilityyou
preliminary gymnastics.
following
of
The
dramatic
play (Edipus
course,
make
to
The
On
of
art
everybody.
body
group
movements
materially visible,but
not
is, of
have
the
plastic
tragedy.
To
your
as
of
his
walk,
student
tragedy,
of
It
incarnation
each
for
great tragedian Mounet-
our
His
stage.
lesson
the
in
had
have
We
which
movements
depend
illustrations
four
the
stabilityof
fifth illustration
the
to
are
poise
of
be
you
(1
"
an
a
studied.
limbs,
body.
shows
represent
2
mony
har-
the
"
3
"
4)
attitude
THE
which,
I
am
Dinging
a
the
sure,
twelfth
to
for
pantomimic
The
words
its
of
plastic
the
by
You
set
it to
to
a
spoken
music, and
Claude
by word,
relation
and
you
by
the
words
translate
by
plastic
the
poem
attitudes
of
Debussy
it
by
which
the
dance.
music
a
of your
founded
be
express
music
Stephane
is
sist
in-
enough
translate
; you
song,
again
or
the
I
sense
between
music,
embody
or
need
widest
recitation, whether
and
which
in the
emphatically
words
the
words
sound.
and
Suppose
it, and
thought by
you
trations
illus-
plasticity
which
word,
thought
that
theme,
and
the
recitation,
rhythmic
cannot
plastic movements
on
find
the
element
music
will
of
a
perfect expression.
being
intimate
thoughts
into
of
give
to
juggler
a
you
recitation
the
a
order
was
pages.
musical
a
one
on
of
recitation
"
expression
Really
which
more
dance
"
expression
the
in
complete
its
meaning
dance
by
acrobatics,
inseparable,
like to take
would
of
Wilcoxon
so
to
plasticity for
of
realm
following
united,
needs
the
which
movements,
elements, plasticity and
two
"so
these
of
when
employ
less,
part (5). Neverthe-
representation
century,
81
never
a
of
Miss
in the
are
playing
practice
necessarfy
ART
will
you
or
song
rather
belong
PLASTIC
back
thought
by
the
body.
Mallarme',
his
famous
DRAMATIC
82
Poem,
Symphonic
had
this
hearing
have
the
and
poem
Faune,
that
poet,
a
music, would
be
spired
in-
And
poem?
same
very
we
ing
dancer, Nijinski, translat-
famous
a
seen
d'un
think
not
you
characteristic
write
to
INTERPRETATION
UApresmidi
; do
existed
not
LYRIC
AND
the
into
music
realm
of
the
plastic.
the
that
again
commonplace
almost
becomes
It
artist
interpretative
I
all the
in his art
dancer,
in
ask
to
came
physical technique,
It
to
words,
into
plastic
She
became
Now
a
let
called
the
song
Ma
illustrate
you
find
Cousinette.
which
taught
and
movements
her
found.
thoughts
both,
tablishing
es-
her
into
and
attitudes.
mime.
us
Sometimes
and
thought, thought
translate
and
of
expressed
she
then
a
tion
instruc-
quickly
was
music,
into
words,
art
my
I
was
question
a
poses;
music
translate
to
was
which
by undetermined
it
singer, for
the
danced
Wilcoxon
not
nor
who
Wilcoxon,
between
link
does
astonished
way
me,
plastic.
the
a
Miss
no
Miss
when
embarrassed
most
arts.
in
therefore
was
repeat
is
if he
decidedly inferior, incomplete,
unite
to
reads
as
on
plastic
some
my
programs
There
is
follows
:
one
ments.
move-
a
verse
song
in
DRAMATIC
84
You
pedantry
a
believe
difference
the
in
flowers
peasant
one
verse
the
wine
that
brought
De
La
verre
Bouchi,
La
see
the
chin
of the
the
to
march
The
the
to
be
This
discuss
in
glass containing
mouth
au
singing
of
the
song
march,
that
and
I
le vin
vin.
the
of
this
the
(7).
verse
straight
line
outstretched
"hip supports
is almost
incessant
a
the
tude
atti-
from
foot,
weight
continuous
and
varied,
danced.
plastic
harmonious
when
on
a
will
illustration
an
toe
hand
pantomime,
is
strong, almost
body.
a
plastic
remember
bouchons
bouchons,
body
the
You
of
joliebouche
voila, la joliebouche
the
of
while
la
following
The
gesture
we
the
the
picking
bouche
en
voila
of
wine.
the
drinking
am
to
appreciate
another
You
I indicate
stage.
potatoes.
which
song
Vin.
is
the
her
out
du
Cycle
Le
will
illustrate
to
another
in
attitude
later,
like
the
on
and
practice
to
gesture
your
digging
tion
exaggera-
singer
a
audience
plastic beauty
would
I
an
appearance
between
woman
perhaps
ask
your
me,
INTERPRETATION
it
to
her
for
gymnastics
But
consider
might
or
LYRIC
AND
and
attitude
of
impresses
the
you
body
as
is
most
beautiful.
a
THE
You
be
do
produced
and
gesture
a
which
song
words
which
with
children
effect would
same
know
head
drink.
a
refer
to
already,
La
the
particularly to
butcher
his house
enter
to
the
illustrations
you
the
back
snatching
St. Nicolas, and
de
Ltgende
if
as
following
two
another
the
"5
by simply throwing
making
The
that
imagine
not
ART
PLASTIC
invites
where
the
later
little
he
kills
them.
Entrez, entrez, petits enfants,
Y
The
first
and
you
limbs
The
tafeen
too
too
arm
of the
You
long
is
broad,
come."
"wel-
means
will
costume
formed
line
tude
atti-
right
plasticity
the
(8).
small
the
large, it
The
other, the
too
shows
is
how
the
around
each
narrow,
arm
see
difference.
near
The
body.
them
Compare
the
illustration
the
gesture
are
the
especially
body.
feet
second
draped
the
of
show
to
will find
of the
of
assur"nent.
yourself
and
gesture
the
is
attitude
wrong
place
d'la
a
be
the
by
leg (9).
I
will
reference
terminate
these
the
Le
to
Marie
d
in the
second
The
song
Bethleem,
three
of my
the
illustrations
de
Voyage
words
of
by
Joseph
which
I
a
et
gave
lectures.
following
illustrations
show
three
DRAMATIC
S6
characteristic
different
in the
first
one
Joseph, looking
distance
line from
the
the
end
costumes
Monsieur,
line
from
the
stretched
out-
the
is,so
chin
to
the
which
by
the
of the
which
and
in
picture
This
around
en
ma
when
shows
say,
ample
will
you
illustration
the
shelter
Pamour
nous
du
this
hostess
bon
Dieu,
tude
atti-
another
it is
time
another
of
(11).
lieu.
un
ayons
shows
but
seeching
be-
Joseph
them
give
to
prie,pour
Mary
inn
to
(12).
TH6tesse,
words
dit la
Vierge
that
indicate
the
addressing
interpreter
must
kneeling, as
shows
only
his
genoux,
a
chez
de*tresse,recevez-nous
illustration
of
the
point
foot.
innkeeper
shelter
a
The
the
other
h6tellerie,que
Madame
down
another
supplication,
offer her
The
the
to
where
moment
in
illustration
implores
Sensible
the
see
draped
third
of
a
structure
je vous
votre
The
shelter, notices
and
second
the
O
occur
impressive picture (10).
an
The
for
the head
are
obtain
who
which
to
You
of the
plastic
Dans
attitudes
refers
house.
a
foot
to
INTERPRETATION
song.
The
long
LYRIC
AND
Mary
vous.
has
knelt
hostess.
you,
however,
indicate
body
must
the
that
ment
move-
immediately
THE
to
return
normal
a
rebuffs
whose
woman
the
You
if he
be
how
of
Can
getting
the
continue
to
dismal
more
these
All
tend
and
broaden,
to
better
explain
French
Any
si die
actress,
ness,
a
in
even
short,
I
of
his
one
ing
try-
imagine
you
rhythm,
phere,
atmos-
stage,
in
or
of the
appearance,
I
outlines.
by referring
mean
We
avoir
say,
without
a
r61es
of
the
all the
she
de
la
can
to
a
ligne
of
a
has
pretty face, will
grand
heroines,
portliness,stateli-
prestige of plastic beauty.
the
important
be, it is understood
truth
and
his knees
prominence
ligne,if
la
However
the
a
what
play
to
de
of
right lines).
the
able
be
situation
artist of the
expression.
(to get
kneeling
acquire plastic beauty
enlarge
to
turb
dis-
might
plasticallyonly.
Could
?
to
the
to
a
plasticity?
platform,
concert
from
song
efforts
give
to
it
destruction
color,
rather
shelter
of
movement
grotesque'
awkwardly
up
hostess
interpreter would
an
indicating
the
see
you
he
house.
the
completed
the
to
maternity
ignorant
instead
down,
a
of the
when
haughtily,
embarrassed
coming
peace
see
rather
if
as
87
impersonate
to
Mary
disdainfully,
ART
upright position,
has
subsequently
who
PLASTIC
that
subject
to
plasticharmony
you
the
will not
may
sacrifice
plastic command-
88
DRAMATIC
and
ments,
your
give
You
took
AND
that
LYRIC
plastic beauty
an
you
know
its
must
you
for the
INTERPRETATION
be
sake
able
to
deform
of art.
I shall
example.
that
sculpture
inspiration
of
in the
sometimes
architectural
Middle
for
works
the
from
Ages
mentation
orna-
the
PLASTIC
THE
cities,danced,
and
face
body.
cathedrals
sculptors
of the
Middle
among
my
had
I
music
the
probably
called
of
de
Estampeda
curious
and
the
of the
the
than
for
The
account
of the
this
of
piece
a
century,
It
was
rhythm
grotesque
intensely
more
even
a
was
cessory
ac-
necessary
movements.
of
dance
juggler
the
illustrate
of
reproductions
are
this
Wilcoxon
mimicry
which
of
phases
the
personage
following
buffoons.
buffoon.
Miss
costume,
on
these
the
to
Jongleurs.'
exaggerate^
character
of
thirteenth
some
where
dance,
gargoyles
the
Ages by
tried
of
suggested
the
dance
the
distortion
manuscripts
reconstructed
I
of
were
from
dating
their
by
Many
famous
through
public streets, and
on
sang
89
passed
people laugh
make
to
who
buffoons
jugglers,
ART
the
few
a
thirteenth
century.
As
to
courage
a
are
stage
of
one
little
souls
in
who
and
curious
or
in
speaking
platform,
thing
rare
to
I should
which,
importance
is
in
in my
the
(13
form
of the
under
such
fortunately
art
see
artistic
an
public
but
appearance,
artistic
I think
requires quite
present oneself
grotesque
of every
it
see,
you
"
expression
14
"
plastic art
not
I
15
on
"
16).
the
discussion
omit
opinion,
attached.
there
much
mean
too
the
DRAMATIC
90
question
the
AND
of costumes.
singer
of course,
Art
this is
has
He
use?
The
not
should
public
The
I shall
a
comes
artist
has
painter
and
only,
into
enter
not
stage
be
told
and
the
disguise himself, but,
to
commonplace
a
should
Every
creation.
is not
sacrifice -to art
to
consideration
artist.
has
INTERPRETATION
I know
platform
concert
concert
LYRIC
say:
and
the
bad
taste.
no
other
of
mind
is
"What
(or stays away)
to
or
strive for
a
sculptor
an
the
how."
any-
complete
will
not
fHE
leave
particle
a
The
sketchy.
painting
One
the
west
Stockholm
I have
whole
in
the
appeared
important
concert
there
for
his
to
mechanical
twenty-one
San
Cairo
east, from
in
also
years
Francisco
farthest
stages, but
halls.
are
from
in the
north
on
or
frame.
world
Smyrna
unfinished
provides
traveled
to
91
work
even
that
me
I have
difficulties.
in the
painter
tell
ART
his
of
adequate
an
cannot
through
PLASTIC
south.
the
in the
Everywhere
I
most
found,
DRAMATIC
92
could
or
could
on
I have
seen
of bad
for the
should
artists
have
in
does
which
like
she
seen
singer, a
of the
tea-gown
a
The
ended
skirt
it
the
was
atmosphere
There
other
do
than
She
plicity
simlooked
dress.
dressed
woman,
below
the
absurd
style.
knees.
tainly
Cer-
is it
style, but
style
another
platform
create
good
artistic
an
?
are
costume,
But
was.
young
latest
I
of
probably
latest,most
such
Does
taste?
it
concert
just
and
art
imagine.
considered
charming
very
his
for
of which
atmosphere.
the
the
complete
return
a
so
singer (quite aged)
Sunday
on
tions
exhibi-
for
as
most
they
Simple
create
in her
cook
a
I have
in
not
as
famous
very
sake
the
than
simple elegance.
a
art'
education,
more
a
attire
an
for
offered, not
benefit
I
suffer,not
me
I think
for his
seen
made
or
whom
to
be
but
money
artist'
which
platform
concert
which
in
room
costume.
a
the
on
taste
public' sake,
art
change
or
INTERPRETATION
dressing
a
arrange,
put
much
LYRIC
AND
so
for
artists
rather
the
in accordance
I
have
poem
of
of the
fifteenth
seen
Victor
on
for
sake
of
with
the
if
the
sake
of
creating
song.
program
of
announced
and
sung
choose
they
their
Hugo's,
century
who,
an
guise,
dis-
phere
atmos-
singer
a
as
in
a
a
a
a
song
costume
a
THE
of
PLASTIC
fifteenth
the
ART
have
I
century.
interpreting
the
Bergerettes
of
the
Middle
costumes
the
most
appear
as
of
seen
one
our
time
93
of
Weckerlin
Ages.
famous
I
in
have
even
singers
opera
Messalina
singers
seen
in
of
spangled
a
dress.
I
am
I have
sure
that
just
referred
make
we
each
success!"
We
have
success,
the
public
accustom
whom
"But
me:
popular
make
not
to
singers to
answer
are
why
But
popular,
would
!
money
of these
at
the
most
be
money,
the
and,
have
We
!
time,
same
complete
pression
ex-
of art ?
I
male
here
speaking
am
of
singer is, I think,
this
appear
in
evening
dress, until
in
dons
dresses
in
should
memory
be
is
in
to
the
will
costumed
and
The
priest
the
in the detestable
patent leather
'
in
crimes
the
Cleopatra
judge
of
a
shoes
?
art
committed
are
most
ity
banal-
dramatic
department.
costume
live
appear
justice. Why
department
ever
rule
pronounce
and
no
called
religiousservice,
horrible
more
the
costume.
delivered
frock-coat
a
There
than
toga
a
Art
of
where
for his
robe
a
to
sensible, tasteful,and
one
appropriate
some
condemned
abomination
will break
man
courageous
forever
modern
The
only.
women
In
my
rily
extraordinavery
popular
DRAMATIC
94
moving
LYRIC
AND
picture play,
INTERPRETATION
which
I have
in this
seen
country.
No
learning by
the
which
An
you
way
woman
rest
to
should
artist
dramatic
his part
heart
the
even
hour
in
about
they
his song,
stage director
is sometimes
or
or
two
the
costumes
were
born.
wearing
the
or
costume
leave
and
accident,
to
library will
of each
You
to
reliable.
more
any
himself
confine
period
will
know
of the
inform
and
the
that
thirteenth
a
PLASTIC
THE
century will
de
make
not
Pompadour,
not
cross
Fifth
library
not
the
cross
cornered
stage
hat
cannot
of
Moliere,
the
remove
off his straw
hat
with
but
on
or
artist
time
hat
the
or
time
would
two
in
male
between
of
Louis
the
beach.
XV
other
him
as
the
sex,
three-
a
and
feathers
inform
will
Barry
of the
long
will
one
our
hour
difference
the
of
of
Madame
as
du
lady
a
any
the
of
bow
same
An
inform
large-brimmed
time
as
95
Madame
Avenue.
will
only
the
that
or
ART
of
that
he
a
the
he
takes
DRAMATIC
96
Every
also be
But
adapted
your
the
to
to
epoch
1860,
animate
your
how
and
to
Lea
your
as
you
be
the
to
of the
that
SA
of
words,
can
so
la
you
must
as
.
you
.
Garde)
color
have
you
You
.
de
must
tailor's
a
Just
CONNAISSANCE
Hussards
text
costume.
costumes.
voice,
your
costumes.
when
FIS
JE
them, just
shade
not
in the
LUXEMBOURG
(Song
period
r61e must
dressed
An
and
INTERPRETATION
gesture corresponding
dummy
have
LYRIC
AND
to
them,
give light
have
to
know,
produce
centuate
ac-
with
mate
ani-
guess
the
of
chiffons
the
the
head,
the
master
carry
"rain"
the
of
arm,
a
it,
if
around
hand,
by
the
a
twist
the
of
body
You
you
"
material
your
body
is
when
but
heavy,
it
is
light.
or
be
must
that
show
costume
your
of
movement
a
drapery.
beautiful
of
by
costume,
your
97
ART
PLASTIC
THE
let
it
THE
DEVELOPMENT
OF
OF
is
WHAT
things
If
its-
is
quickly
outlines,
them,
be
them,
be
judge
able
and
The
for
almost
invention
itself
of
accumulation
when
to
who
observation
a
a
of
of
terior,
ex-
their
culiaritie
pe-
even
action.
vital
quality
tion.
occupa-
invention;
experience,
observations.
the
will
useful
creates
utilization
from
he
an
is
has
see
comprehend
such
observation
ness.
ugli-
penetrate
by
action,
of
its
you
interior
will
see
its
or
character
an
must
you
time
their
inspiration
being
is
must,
same
of
everybody
gift
you
observer
of
and
men
recognize
beauties
their
effects
the
thing,
its
judge
to
faculty
The
the
at
able
seeing
dimensions,
men,
The
recognize
its
conceive
recognize
causes
lifeless
a
observe
you
of
faculty
justly.
and
peculiarities,
If
?
the
observe
you
FACULTY
OBSERVATION
observation
Observation
THE
which
FACULTY
THE
gift of
The
kind
any
for
observation
An
imitative
art
imitate
is
stir your
public,
laugh
its tears.
If, however,
You
the
or
will
artist, your
neither
will not
will
the
peculiarities,inspired by
analytical,
will revive
you
it, you
augment
it cold.
is
model,
its
provoke
will leave
your
servation
ob-
artificiality.
observation
your
your
only.
greatest
You
imitate
will
actor.
or
artificiality,
you
you
non
qua
Mechanical
art, but
no
even
will remain
it.
sine
imitation
to
you
imitation
will not
quality for
mechanical,
analytical.
be
lead
you
vital
a
conditio
a
be
can
will
nor
99
artist,be he singer
can
If you
is
artist, it is
of
observation
Your
OBSERVATION
observation
dramatic
the
OF
amplify
of
findings
its
your
observation.
The
inventive
Aided
by
will
You
types
collect
their
frankness;
their
You
thousand
will
the
look
their
into
or
will
to
see
be
how
their
attack
loyalty,
masks
faces, according
you
and
hypocrisies
of
faithful
their
their
to
into
their
falsehood;
and
defense.
but
also
they put
to
nation.
Imagi-
observed.
and
truth
astonishing
off their
You
their
is
will put
you
have
you
tricks
artist
an
imagination
your
life all human
of
power
on
desire
or
to
hind
betake
ceive
de-
you.
eyes
and
their
lips
DRAMATIC
102
was
business
a
love
a
on
I tied
knot,
a
the
how
"virtuoso
of
owing
sight by lifting my
and
knit
imaginary
this
I
into
played
the
needle
the
I accentuated
of
some
of
real
a
and
"
my
none
without
of them
None
of
end
by insisting on
how
I
pupils
to
eyebrows,
sewing,
gesture
how
bad
frowned
brows.
my
I asked
When
other
thread
sight, how
bad
to
the
needle, how
sew.
needle
thread,
observation"
difficultyof filingthe
to
the
I moistened
my
ing
sing-
was
imaginary
an
I broke
to file it into
I
pretending
pulled
how
bodice,
when
me
serre,
I
the
having
*
seen
lien
imitate
to
without
hands.
how
seen
thread
the
letter,or
unable
were
gloves
had
Le
song
of my
my
in their
pupils
had
of
pair
a
my
the
out
indifferent
who
some
gloves
They
INTERPRETATION
letter,some
were
putting
All
LYRIC
letter.
There
real
AND
all
them
do
realize
could
needle
and
this
thread.
certainly know
how
to
f
sew
"
hand
could
plays
indicate
even
in
ignorant
How
human
of the
then
could
tried
quality
for
one
be
ever
the
show
had
each
parently
apwere
hands.
its thousand
to
them
fingers,they
own
life of their
life with
If I have
vital
their
role which
of
None
sewing.
observed
the
that
dramatic
able
to
subtle
incarnate
shades
observation
!
is
artist, I would
a
LE
LIEN
SERRE
8
MUSICAL
You
sing
cannot
Musical
which
RHYTHM
a
is
rhythm
of
training
acquire
quality,
through
voice
your
rhythm.
mechanical
a
finally
can
you
without
song
the
by
cient
suffi-
a
aid
of
a
metronome.
Of
course
rhythm
than
instinct,
by
the
by
Even
the
by
the
of
grace
if
you
of
grace
possess
rather
God,
metronome.
voice
speaking
your
off
better
are
you
then
may
possess
rhythm.
A
does
as
requires
song
be
a
song,
where
of
find,
songs
If
their
within
find
I
they
in
therefore
in
my
and
have
to
to
text,
rhythmic
repertoire
104
same
degree
there
should
rhythm
very
few
they
a
lose
few
and
ficulty.
dif-
words
cannot
accent.
a
song
by
a
preters
inter-
this
overcome
speak
in
together.
occur
song
that
able
are
the
the
keeping
however,
singing
their
again
have
and
recitation
will
You
in
recitation,
difficulty
no
rhythm
B6ranger,
MUSICAL
called
Ma
Grandmere,
for
I shall
then
are
RHYTHM
a
mixed
song
give
indicate
which
offers the best
with
first the
which
105
recitation.
words
lines
tration
illus-
of
the
spoken
are
and
song,
and
which
sung.
It is necessary
of
the
It
is
grandmother,
a
speaking
joyous
the
has
loved
and
of
She
love,
has
loved.
lady
of olden
is
a
has
divine
smile
the
spite of
of
has
joy
her
It
youth.
to
De
vin
pur
un
ayant
Nous
disait
Que
d'amoureux
en
soir
bu
branlant
sa
a
deux
her
is
good,
Her
reveal.
not
loving
bears
a
whom
ness
frank-
frivolity.
GRANDMERE
grandm"re
she
face
(Be*ranger)
Ma
of
grandmother
indiscretion, but
MA
eenth
eight-
old age,
old
her
joyous
interpretation
of the
gallant heart;
a
means
In
her
forget
not
woman
her
wine, but
must
you
of
that
of
drop
a
hardened;
not
grazes
to
which
tender, charming,
your
meaning
intlicates
song
grandmother
being
still the
due
the
century.
heart
the
grandchildren
poet
is rather
interpreting
French
a
her
to
The
past.
frankness
that
well
penetrate
song.
times,
in
to
f6te
doigts
la tete,
j'eus autrefois.
106
LYRIC
AND
DRAMATIC
je regrette
Combien
bras
Ma
jambe
Et
le temps
a
je
la nuit
et de
;
dormais
Refrain
Oui, seul il
"
savait
a
Refrain
Plus
deux
maman,
chacun
Oui, mais
d'eux
Refrain
que
Rien, mais
Que
Pceuf
ensemble?
trompa,
semble,
vous
:
etc.
lui dit la famille?
un
connaitre
pu
etc.
me
je regrette,
Combien
Eut
;
:
grand'papa.
J'e'pousaivotre
"
mois
la fois.
amants
qu'il ne
fine alors
Maman,
plaire?
done
je regrette,
Combien
Quoi,
etc.
plut quatre
me
heureux
fis deux
Et
:
j'estimai Valere,
bientot
Mais
pas.
je regrette,
Lindor
Maman,
appas
mes
j'appris Pusage,
ans
ne
Combien
sage?
n'e"tiez pas
vous
quinze
faite,
perdu.
vraiment
Seule
Car
bien
! maman,
Non
"
dodu,
si
Mon
Quoi
INTERPRETATION
e*tait
mari
a
la
plus sense*
coquille
de*ja casse*.
MUSICAL
RHYTHM
107
^
Grand-mere
Ma
soir
un
a
fe
sa
te
-
/TN
de
vin
pur
ay
bu
ant
-
^
di
nous
doigts
"
salt
-
deux
bran
en
-
lant
la
/TN
;
te
te
-
; u
;
d'a
que
j'eus
-'mour-eux
au
fois.
tre
-
REFRAIN.
Com-bien
je
re
-
gret
te
-
bras
mon
do
si
"
rt?
du
ma
du
corns
jam
be
-
bien
fai
te
-
et
le
mon
bras
temps
per
i
bien
je
re
-
gret
-
te
si
do
-
fl
du
ma
jam
-
be
bien
fai
-
te
et
le temps
per
-
du.
DRAMATIC
108
INTERPRETATION
LYRIC
AND
Refrain
je regrette,
Combien
Comme
!
Ne
comme
feriez-vous
interpreting
the
The
different
In the
first
the
In
refrain
second
but
sing again
the
the
In
with
a
stress
each
frain.
re-
repeated.
refrain
gaily.
part
of
the
melancholy;
speak
of
refrain,
repetition
the
le temps
Et
:
sing
verse
lay
of
first
the
the
mischievously,
perdu
!
whole
refrain
;
the
repetition
in
"regret" jovially.
fourth
verse,
.speak
bitterness, but
comic
will
the
sing
the last line
the
the
is
some
part, the
third
etc.
you
verse
verse,
with
first part
accentuate
song
you
second
is sung
:
characterizations
verse
the
In
the
in each
refrain
moi?
comme
pas
je regrette,
Combien
on
grand'mSre,
ma
Refrain
In
faire?
petits-enfants, pourquoi,
mes
j'aifait
Quand
etc.
faut-il
maman,
vous,
Eh
"
:
the
whole
refrain
well
observe
the
rhythm.
In
with
part.
the
a
fifth
verse
certain
you
will
mockery,
speak
and
the
sing
first part
the
second
MUSICAL
In
sixth
the
with
refrain
of
the
f
last
refrain
the
to
will
the
the
in
speak
line,
M
on
bras
tition
repe-
the
same
si
lines,
last
le
Et
.
ring
out
bien
jambe
a
.
faite
perdu
temps
!
.
almost
in
a
sigh,
but
the
sing
.
M
must
will
you
emotion,
you
up
two
verse
melancholy
emotion
tender
.
and
a
109
RHYTHM
musically.
dodu
9
EXPRESSION
EURHYTHMIC
THE
THE
OF
BODY
I
to
of
and
Art
Plastic
artist
possess
While,
of
grace
find
grace
tall
A
A
tall
a
short
singer,
the
most
of
each
singer
one.
with
cannot
I
short
acquire
in
it
that
have
the
arms
no
country
girl
peasant
natural
ments
move-
lack.
may
personal
have
from
grace;
some
lady
is
-body
self
your-
is, the
eurhythmic
refined
would
of
is instinctive.
graceful
will
tural
sculp-
that
uncultured
woman
different
expression
can
body,
of
show
which
beauty
outside
which
its
an
sometimes
body.
the
body,
has
therefore
dances;
with
studying
by
find
expression
an
plastic art,
you
seen,
of
the
nation
Every
of
dramatic
impersonations.
cannot
you
the
for
embody
to
eurhythmies
natural
The
sentiment
observation,
by
art
the
may
the
have
we
as
works,
you
necessity
style his
with
plastic
the
the
of
chapter
former
a
him
enables
which
and
in
spoken
HAVE
eurhythmic
an
of
same
not
advise
and
short
the
to
a
small
one.
gestures
the
legs,
as
short
to
try
112
DRAMATIC
f
2
De
vigne
La
voila
branchons,
branchons
I La
voila, la joliebranche.
f
la
De
branche
La
voila
jolie branche
en
la
Grappi,
la
joliegrappe
au
grappe
La
voila
hotte,
en
la
joliehotte,
Hotti, hottons, hottons
le vin.
[La
voila, la jolie hotte.
hotte
en
La
voila
la
Cuvi,
De
La
f
"
[La
De
Le
f
"
voila
[ Le
vin.
joliecuve,
le vin.
cuvons
joliecuve
vin,
au
voila, la joliecuve.
tonne,
en
cuve
voila
la
jolie tonne,
tonnons,
voila
la
le vin.
tonnons
jolietonne
au
vin,
voila, la jolietonne.
cruche
voila
Verri,
Le
la
au
cuve,
cuvons,
Tonni,
La
joliehotte
la
De
ILa
vin,
voila, la joliegrappe.
De
La
le vin.
grappons
voila
"
vin,
au
joliegrappe,
grappons,
voila
le vin.
grappe,
ILa
f
7
joliebranche,
voila
[ La
6
la
INTERPRETATION
branche.
en
Branch!,
3 " La
5
LYRIC
| La
f
4
AND
en
le
joli verre,
verrons,
voila
le
verre,
le vin.
verrons
joli verre
voila, le joliverre.
au
vin,
De
La
voila
[La
voila, la jolie bouche.
Le
bouche
le
voila
Le
"
joli ventre,
ILe
f
le
voila
vin,
au
ventre,
en
le vin.
ventrons
Ventri, ventrons,
f
10
jolie bouche
la
le vin.
bouchons
| La
De
9
joliebouche,
la
Bouchi, bouchons,
f
8
voila
113
bouche,
en
verre
BODY
THE
OF
EXPRESSION
EURHYTHMIC
joliventre
au
vin,
voila, le joliventre,
De
ventre
La
voila
terre,
en
la
joli'terre,
Terri, terrons,
le vin.
terrons
ILa
voila
[La
voila, la joli'terre.
la
vin,
au
joli'terre
i
m
vi
Le
-
gne
-
plan
va
von
ter
-
sa
3E
vi
vi
gne,
-
vi
gni,
-
vi
gnons,
-
:XT~?
vin
le
gnons
:
voi
la
-
la
la
-
J
jo
-
lie
i
vigne
I
au
ven,
la
voi
-
1"
la
jo
-
lie
vi
-
gne.
DRAMATIC
114
I
have
lines
The
under
1.
where
LYRIC
AND
in
numbered
gestures
explanations
the
INTERPRETATION
each
the
accompany
of
the
corresponding
You
imitate
the
You
indicate
by
the
verse
gestures
three
singing.
follow
here
number.
vine
grower
digging his
soil.
2.
which
that
you
the
lift
a
line is
little
a
gesture of
higher
growing.
at
each
your
new
hand,
line,
EXPRESSION
EURHYTHMIC
in the
air, you
you
grapevine,
pretend
march
You
believe
the
thumb
between
grape
4.
show
You
3.
carry
OF
to
and
you
the
BODY
keep
115
it
stem
high
of the
fore-finger.
rhythmically, making
around,
on
hold
THE
your
back
the
heavy
ket
bas-
full of grapes.
5.
your
You
feet
pretend
(as it was
to
done
tread
the
in old times
grapes
in
with
France).
116
DRAMATIC
You
rhythmically stamping
are
6.
cask
You
pretend
with
Here
hand.
your
eyes,
the
8.
color
Here
will empty
the
you
your
in
you
of the
your
will
You
imaginary
an
dance
around
wine.
will
pretend
will
You
you
embrace
to
arms.
your
it,it contains
7.
feet
your
bucket.
imaginary
an
INTERPRETATION
LYRIC
AND
keep
will look
at
keep
to
the
it at
it
as
a
if you
glass
in
level
of
admire
wine.
bend
your
glass in
body backward,
your
mouth.
you
EXPRESSION
EURHYTHMIC
9.
betray
will
You
10.
gluttony,
some
this
Same
slightly
fine
as
creation
1.
OF
tap
your
of
on
joy
God.
BODY
THE
your
of
117
stomach,
having
sorbed
ab-
10
THE
SCIENCE
OF
IN
TEMPO
DECLAMATION
diction
THE
if
perfect,
the
he
Without
A
of
a
have
by
of
be
string
monotonous
a
tempo
?
and
shade
of
pauses
short
enunciation
voice
the
or
or
the
phrase
longer
tion.
dura-
to
make
cannot
artistic
most
a
for
up
lack
tempo.
The
the
words
of
thought,
the
the
By
it is
as
Before
the
will
declamation
light
perfect
coloration
of
taking
author
a
enunciation
tempo.
will
giving
Even
clear
a
is
words.
means
means
the
to
the
song
meaningless
What
of
of
lyric artist
or
color.
no
poem,
It
adds
tempo
style,
dramatic
a
she
or
science
great
no
of
the
tempo
if it
during
importance
a
of
its
intensify
you
ripens
giving
indicates
tempo
your
tempo
118
in
of
structure.
the
thought
interpretation.
examples
few
material
the
form
text
to
diction,
illustrate
I
would
;
je
Que
de'salte'rant
vas
me
le courant,
Dans
vingt
de
Plus
Et
puis
ne
Tu
troubler
!
sais que
de
je
Reprit Fagneau
ai
Je n'en
Car
vous
Vous,
On
bergers,
Fa
dit
fond
I shall
indicate
and
La
raison
i
i
i
i
i
i
loup
m"re.
ma
frere.
quelqu'un des tiens
je
puis le
the
mange,
even
,
,
fort
text
se
d'une
survient
a
i
Et
que
la faim
i
tou
est
title
jours
i
i
:
tout
la meilleure
a
Pheure.
de"salte*rait
onde
jeun,
i en
fable
L'AGNEAU
ET
monfrer
agneau
same
tempo.
in the
i
i
of the
i
pure.
i
qui
cherchait
ture,
i
;
venge.
take
it
le courant
Dans
Un
Un
n6?
chiens.
to
Pallons
Nous
i
i
plus
n'e"tais pas
for"ts
where
du
passe*.
proc"s.
LOUP
LE
;
guere,
que
give
I shall indicate
je
ton
vos
et
de
forme
Pan
done
des
cruelle
encore
done
il faut
:
au
autre
Now
tette
et
loup Pemporte,
Sans
si
m'e'pargnez
ne
La-dessus,
Le
me"dis
C'est
point.
vos
me
je
b6te
cette
tu
toi, c'est
n'est
ce
moi
;
fac.on,
aucune
boisson.
sa
Paurais-je fait
Comment
Si
en
reprit
la troubles
d'elle ;
au-dessous
pas
consequent,
par
que
Et
INTERPRETATION
plut6t qu'elle considere
Mais
Je
LYRIC
AND
DRAMATIC
120
ces
lieux
attirait.
aven-
:
OF
SCIENCE
Qui
1
TEMPO
si hardi
rend
te
DECLAMATION
IN
121
troubler
de
mon
breu-
vage?
Dit
_i
Tu
_j
animal
cet
chatie*
seras
Sire,
1
i
de
i
rage
:
temerite*.
ta
re"pond Pagneau,
i
i
plein de
i
i
que
i
i
"
votre
majest^
Ne
_j
Mais
i
je
Que
_i
mette
se
le courant,
Dans
_,
de
Plus
i
i
i
i
Et
Je
vingt
que
i
i
consequent,
par
cruelle
la
Tu
i
i
i
Si
"
i
i
I
Car
i
Vous,
i
i
;
i
i
i
reprit
i
n'en
i vos
Pa
me
toi,
i
b"te
cette
i
i
point.
des
tiens ;
i
i
si
passe*.
je n'e*tais
pas
m"re.
ma
c'est done
"
i
ton
C'est
fr"re.
done
m'e'pargnez gu"re,
bergers,
dit
Fan
tu me*dis
encore
ai
ne
vous
i
On
i
je tette
n'est
ce
Je
i
i
de moi
que
quelqu'un
i
!
Paurais-je fait
Reprit Pagneau
i
boisson.
sa
troubles
Comment
i
fac.on,
aucune
i en
i
;
je sais
i
d'elle ;
au-dessous
pas
puis troubler
ne
i
Et
d6salte*rant
vas
me
;
phit6t qu'elle consid"re
i
i
colere
en
pas
:
i
i
et
vos
i
i
chiens.
il faut
que
je
me
venge.
i
i
i
i
Le
NoW
by
loup Pemporte,
Sans
"
La-dessus,
I
another
autre
shall
forme
fond
i au
i
i
i
puis le
et
de
illustrate
example, again
des
fore'ts
mange,
proc"s.
the
a
taking
of
tempo
fable of Lafontaine,
DRAMATIC
122
AND
shall
I
then
inserted
my
time
indication
an
of how
obtain
by tempo
the
corresponds
a
caustic
en
Maitre
Se
rapporte
Et,
II
Le
case
perche*,
langage
ce
joli!
vous
que
votre
corbeau,
phe"nix des h6tes
que
semblez
me
ne
un
peu
joie ;
laisse tomber
:
Mon
sa
bon
proie.
monsieur,
flatteur
tout
bien
corbeau, honteux
Jura, mais
de
pas
voix,
saisit,et dit
vaut
!
bois.
ces
sent
se
belle
sa
de
de"pens de celui qui Pe"coute
leson
beau
plumage,
votre
s'en
:
ramage
large bee,
un
renard
Cette
which
alleche1,
Podeur
du
montrer
pour
aux
text
fromage.
un
le corbeau
mots
Apprenez
Vit
a
le
"tes
ouvre
Le
can
we
RENARD
LE
monsieur
mentir, si
ces
the
tain
cer-
others
of it, in this
arbre
un
pres
etes
vous
sur
par
peu
a
bonjour,
Vous
A
ET
bee
son
renard,
tint
Sans
puff
nunciation
pro-
:
corbeau,
Tenait
Que
this
the
that
showing
meaning
CORBEAU
Maitre
He" !
having
add
to
the
satire.
LE
Lui
how
coloring of
the
to
fable
The
of
a
after
there, delay
some
sake
for
of
broaden
to
words,
syllables,drag
there,
words
shall,however,
I
certain
of
words
plain
the
give
stops.
INTERPRETATION
the
give again
first,and
text
LYRIC
un
et
fromage,
:
sans
doute.
confus,
tard, qu'on
ne
Py prendrait plus.
follows
Here
Maltre
i
i
i
i
Lui
tint
i
Se
Vous
i
i
i
i
A
Et,
i
i
II
i
Vit
i
aux
i
i
Fodeur
par
alleche*,
langage:
bonjouououour,
i
i
sieur
mon-
me
vous
que
i
pluuuuumage,
votre
i
des
i
de
notes
sent
se
ne
montrer
ouvre
i
ramage
le corbeau
pour
laaaaarge bee,
un
plus de joie ;
voix,
belle
sa
bois.
ces
laisse tomber
i
i
saisit, i
s'en
et
i
dit
:
Mon
i
i
monsieur,
bonnnri
i
i
!
joliiii
si votre
a
renard
Le
i
i
fromage.
proie.
sa
i
i
mots
ces
i
i
phe"nix
le
!
perche",
un
i ce
i
RENARD
!
beauuuu
rapporte
etes
i
eeeetes
mentir,
i
i
He"eeeeee
vous
semblez
Sans
LE
arbre
un
pres
fable with
same
corbeau,
du
Que
ET
,
sur
123
accents.
renard,
peu
a
i
i
and
bee
Maitre
i
i
i
i
son
en
of the
text
,
corbeau,
Tenait
i
the
CORBEAU
LE
DECLAMATION
IN
of tempo
indications
i
TEMPO
OF
SCIENCE
Apprenez
i
i
que
de"pens de celui
lecon
Cette
i
i
i
tout
i
qui l'e*coute
bien
vaut
flatteur
:
fromage,
un
i
i
sans
doute.
i
i
i
i
Jura,
Le
corbeau,
i
i
prendrait
It
is of
mais
peu
i
honteux
tard,
et
i
i
confus,
qu'on
ne
1'y
plus.
course
taking tempo,
un
i
understood
there
is
no
that
in
difference
regard
between
to
and
place
pauses
your
according
the
song,
Le
have
again
roi
"
"
a
fait battre
tambour,
i
Pour
i
i
Et
i
i
voir
Lui
i
i
ravi
a
Marquis,
i
Marquis,
i
i
Qui
i
est
Sire, Roi,
Marquis,
Marquis,
i
Si tu
?
la connais-tu
dis-moi,
lui
a
c'est
i
i
es
i
i
la connais-tu?
i
i
cett'joli'dame?
i
i
re*pondu
tu
i
voulais
e's
:
!
femme
ma
plus heureux
qu'moi,
plus heureux
qu'moi,
si belle ;
femme
D'avoir
i
i
me
Paccorder,
chargerais d'elle.
me
i
Sire,
J'en
i
i
tu
i
;
vu
i
marquis
Le
i
vivify and
ame.
dis-moi,
i
i
dames
ses
qu'il a
son
i
Je
toutes
premiere
la
pauses
TAMBOUR
BATTRE
FAIT
A
tambour,
i
which
expression.
fait battre
roi
in
tambour,
a
Le
"
eighteenth century
an
i
roi
tion
recita-
thought.
i
Le
a
will
words, according
greater duration, which
ROI
LE
in
as
graphically short
indicated
the
animate
P*
of the
fait battre
a
of
pauses
of
of
You
just
song
sense
words
the
are
a
the
to
requirements
Here
or
in
INTERPRETATION
declamation.
lyric
recitation
to
LYRIC
AND
DRAMATIC
124
i
Sire, i
i
si
vous
_j
si
vous
n'"iez
n'e"tiez pas
tirerais vengeance,
le
pas
roi,
le
roi,
I
SCIENCE
OF
TEMPO
DECLAMATION
IN
125
LJ-LLLJ-J-J:
Roi
Le
vn
v
fait
a
bat
tre
tarn
-
hour
L
"-=
Le
Roi
bat
fait
a
tre
tarn
-
hour
d"
}=t
voir
Pour
tou
tes
-
mes
da-
ces
.
flbfe
i
la
et
pre
mie
-
qu'il
re
a
vu
f
Lui
ra
a
plan
-
ta
ra
plan
ra
j
j
ta
i
i
plan
puisque
ra
plan
ta
ne
i
te
i
ne
fache
te
fache
done
plan
plan plan plan plan.
"tes
vous
plan
le
roi,
ob"ssance.
votre
Marquis,
Marquis,i
i.
la
ra
ta
ra
ra-ta
me
son
plan
plan
Mais
A
vi
pas
done
;
pas,
T'auras
i
i
i
i
i
i
Je
!
ta
recompense
dans
ferai
te
bien
Habille-toi
France.
de
mare"chal
armies
mes
i
i
Beau
INTERPRETATION
LYRIC
AND
DRAMATIC
126
proprement,
bien
Habille-toi
proprement,
i
Coiffure
i
dentelle
la
a
i
bien
Habille-toi
Comme
demoiselle.
une
i
Adieu,
ma
i
i
i
i
mie,
i
i
Puisqu'il
coeur,
mon
i
i
espe*rance
mon
coeur,
;
roi,
le
servir
faut
te
mon
adieu,
mie,
ma
Adieu,
adieu,
\
i
Adieu,
i
proprement,
i
i
i
;
i
d'ensemble.
Se*parons-nous
reine
La
La
De
i
i
j
reine
i
i
de
fleurs
belles
Et
la
fait
mourir
un
bouquet
bouquet
un
lyse
senteur
j
A
faire
fait
faire
fait
a
a
marquise.
de
i
i
ce
bouquet
DRAMATIC
128
AND
dance,
They
such
And
the
The
those
who
mouth
know
of
women
can
wit, of
charm,
you
not
discreet
they
choice
Nun
?
What
What
how
an
What
ing
charm-
of
mysterious
What
pale?
?
lips.
of
Pointed
Paradise,
Is the
Oh,
?
they
can.
diabolical
be
the
good
whole
!
express
!
ity,
stupid-
expressed by thin, pale
irony, sharp
mouth
the
can
a
beth
Mac-
Lady
Vanity, pride, cupidity,cold-hearted
All
What
delicacy,of malice,
and
cruelties
things angelic or
1
play
to
!
pale ?
Theresa
vampire
infinite
avarice.
portunity
op-
attractiveness.
Saint
!
or
well
them
give
thin-lipped
make
to
what
tenderness,
distinguished
Are
Oh,
away,
especially!
of refinement, of
accent
fade
!
they thin-lipped and
Are
movable.
im-
are
?
mouths
expressions
of
sparkle.
instrument
an
They
veiled, they
are
and
brighten
for
on
INTERPRETATION
vacillate, stare.
They
they
LYRIC
whole
The
sarcasm.
of Hell.
thick-lipped
and
broad
!
laugh
red?
Affectionate, attractive, hospitable, endlessly
tender,
of the
ardent
mother
Is the
Oh,
the
mouth
the
of the
mouth
of inexhaustible
thick-lipped
strong irony
or
loving,
maternal
and
mouth
love
!
red ?
sparkling
one;
the
SUSPICION
RAGING
RAGE
FEAR
"
CRUELTY
FRIGHT
SMILE
THE
OF
THE
DOUBT
The
Two
appeal
appeal
EXPRESSION
You
Question:
it not
IN
?
will
APPEALS
of
the
of
Answer:
the
DEFINED
.
is
"
lips.
EXPRESSION
SUSPENSE
come
eyes
the
Oh,
I do
.
not
know
.
...
it depends
.
!
THE
SERENITY
MORAL
PAIN
PRESENTIMENT
PHYSICAL
OF
PAIN
DANGER
HOW
gentle
the
It
will
thick-lipped
signify
gayety,
broad
it
of
mouth
pale,
farce,
red
?
kindness,
ness,
tender-
laughter,
roaring
of
the
city
woman's
the
in
artist
his
of
mouth.
correspond
to
carnal
well
as
the
an
of
as
Your
your
face
will,
mimicry.
has
must
your
develop
to
master
shades
under
be
the
his
sources
re-
eyes
able
be
must
and
surprising
a
to
eyes
or
thin
red,
facial
has
lady
great
is
must
of
the
human
control
intellectuality.
inventive
ever
and
thousand
mouth
a
mouth
His
the
of
large
he
face,
his
thought,
of
art
dramatic
The
and
girl,
farm
a
mouth
the
be
every
accessory
to
like
village.
Whether
of
fireworks,
and
health,
debauchery
appetite,
129
gayety.
mouth
love,
MIMICRY
like
sarcasm
thunderous
;
Is
FACIAL
the
irony,
bombs
the
ACQUIRE
TO
be
power
soft
the
of
clay
submitting
transfiguration.
to
12
MAGNETISM
ABOUT
SOUL
AND
THAT
MUST
is
and
given
to
carries
of
Each
of
is
So
will
by
the
nature
is to
duty
our
born
discover
gift
which
as
their
and
ignorant,
they,
or
just
children's
their
anything
to
be
writers
or
because
lawyers;
just
perhaps
sculptors,
bankers
or
towards
himself.
persons
or
be
which
attractability,
received
;
painters,
bankers
powers
ours.
many
lawyers
imperative
are
of
in
has
us
talent
some
talent
charm
force
a
are
one
every
is charm?
what
personality.
your
They
THE
ARTIST
magnetism,
Magnetism
THE
ANIMATE
TRUE
WHAT
CHARM.
cians,
musibecome
fathers
in
were
their
turn,
indifferent
as
soul
might
reveal.
No
that
wonder
is
Humanity
with
crowded
failures.
Rare
who
are
are
those
able
who
to
are
hear
who
their
understand
able
to
130
its
become
inner
voice,
precious
aware
of
guage,
lanthe
MAGNETISM
ABOUT
AND
present, bestowed
rare
become
them
life before
whole
also
receive
on
the
by nature,
develop
such
us
a
it.
gift,be
sure
its
for
accessories
necessary
to
still their
have
they
to
bestows
If nature
we
it while
of
aware
them
on
131
CHARM
development.
it is for
Again
which
them
and
out
to
them.
cultivate
God
find
to
us
in
places
sometimes
keep,
we
is luminous
which
that
us
sheer
by
and
ignorance,
in darkness.
He
plants
in
but
be
it is for
hideous
The
in
us
the
higher
is the
The
to
way
The
the
has
that
greater
easier
the
than
Light.
to
magnetism,
of your
carrier
your
?
personality.
It is your
What
to
Verlaine,
strives, the
is made
Darkness
leads
is the
What
charm
us
"Confessions,"
soul
human
be
struggle.
which
one
Paul
poet,
sublime
his
to
choose.
to
us
French
great
shown
the
;
enables
which
that
also
magnificent,
is necessary
which
that
us
personality?
is your
of
essence
effect
combined
Develop
all you
yourself
ugliness,have
a
of
in
and
are
body
and
beauty
all you
feel,
soul.
rather
than
great soul, a greater heart.
in
DRAMATIC
132
The
AND
charm
and
if your
of
soul
your
a
of
ality
person-
by physical beauty
the
language
your
eyes
reflect
heart,
generous
and
a
speaks
if
soul,
sentiments
of
aided
mouth
beautiful
a
INTERPRETATION
magnetism
sometimes
are
but
LYRIC
will
heart
the
;
of
the
beauty
prevail
over
the
stage
who
are
body.
There
are
women
in
magnificent
lack
because
who
but
beauty,
then
is Soul?
is
charm,
soul.
of all
compound
a
theless
never-
and
personality,magnetism,
lack
soul
The
their
they
What
the
on
intellectual
our
faculties.
soul
The
of
the
brain, intelligenceof
all
of
compound
a
intelligenceof
"
of the
is
gences
intelli-
our
heart, intelligence
intelligence
manners,
taste, intelligencein Art.
artist's
An
soul
have
must
tual
intellec-
multiple
qualities.
The
gift,the
if his soul
power,
and
virtues
talent
all
of
is
artist,will
an
inferior,if it
generosities, if
out
with-
be
has
all
not
it is low
and
narrow-minded
.
all
We
talented
singers
audiences.
very
beautiful
know
The
who
public
clever
but
.
.
have
.
so
voices
no
says
and
over
power
He
:
cold
or
she
really
their
is
...
!
They
are
cold,
have
They
If you
not
find
that
out
charm
for
you,
nor
in
daily
friend
of his talent
proof
popularity,
success
or
a
of
an
to
You
remember
called
Consul,
tribute
Music
Hall
artist
and
who
not
draw
The
and
"
who
the
cheap
wonderfully
salaried
often
same
is not
quite
ago
due
to
monkey,
sensation
a
a
on
as
the
I
I
stage
member
rean
success,
she
could
monkey.
to
course,
by
that
the
on
Paris.
and
popularity, yhich,
monkey.
a
jealous of Consul's
illustrated
of
proof
a
always
somewhere
flocks, of
always
his art.
years
crowds
alone.
his sensationalism.
to
sincerelyin despair
was
crowd
was
met
more
artist is not
stages of London
having
and
his talent
more
artist
some
made
would
you
sometimes
are
an
; it is
multiple qualitiesof
the
if
them,
magnetism
than
success
high salary paid
The
"
artist, the
his
!
dry, selfish,hard.
are
an
you
one
with
parent,
or
leaves
for any
contact
personality
his
of
The
his
care
of
responsiblefor
a
!
they
soul
The
that
Because
them
their
were
you
For
which
Why?
to
were
133
heart.
no
instrument,
nothing
do
They
fine
a
are
CHARM
sensitiveness.
indifferent!
quite
feel you
soul,
no
lack
they
reason
you
have
they
because
AND
MAGNETISM
ABOUT
sensational
think,
Consul,
the
was
so
high-
DRAMATIC
134
Real
art
Take
a
has
limited
a
city like
five
have
only
sized
halls devoted
one
and
dozens
public.
to
and
cinematograph
and
only
music,
pure
of
dozens
what
You
fairly
two
but
call
you
have
you
devoted
palaces
to
stand,
I under-
as
of inhabitants.
house
opera
with,
York
New
six millions
or
INTERPRETATION
LYRIG
AND
the
to
mistically
euphe-
so
"Vaudeville."
Why?
the
Because
public
for real art
is limited
in
for the
true
artist
is not
than
cheap
larity,
popu-
number.
the
Therefore
a
smooth
path
one.
If his ambition
he
aims
be
must
higher
prepared
struggle against
to
indifference,and
ignorance, incompetence,
bad
taste.
The
than
crowd,
for
popular
the
makes
public,
the
same
the
attracted
clientele
if it is
great talent
this
great soul.
other, they love
each
not
as
yet
yet
totally educated,
Now,
by
is
has
nation
appeals only
artist
public.
numerous
more
aristocracy,
crowd
6lite, a
first-class
always
No
beauty.
first-class
which
is
intellectual
the
ready
which
other.
to
a
his
limited
artist,the
an
certainly
understand
Each
soul.
and
great soul
a
artist,has
They
corresponding
of
to
a
each
artist has
There
are
a
ABOUT
of
MAGNETISM
course
the
sake
best, but
of money
of the
be
to
above
Devil
his
is like
like the
Priest,must
the
among
be
not
your
Express
what
and
all your
the
heart
and
let the
are
able
for
what
he
to
the
public
share
a
artist,
wolves
are
fear them.
the
has
advice
advice.
do,
appeal
know
its
to
sufferings
that
!
aim
sorrow
art;
your
that
to
move
you
stand
under-
...
struggle for life,love, and
public conceive
your
heart,
art
your
veloped,
deare
you
all your
expressing
by
when
soul
your
the
butantes,
de-
But
what
Be
!
and
the
students,
!
on
yourself
ripened,
ears
must
influence
you
Remain
has
artist
the
gives
she
or
outside
any
by telling and
every
Make
not
in all you
;
duty
in
The
feel,go straight to
you
proaches
ap-
audience
must
by
your
joy
the
and
consider
; reveal
beauty
artist has
reason
Only
to
the
for
these
church.
a
who
personality
close
yourself
The
listen !
else!
them
.
that
art, don't
have
of
.
matter
not
nothing
your
.
foF
giving
know* that there
impressed
does
It
in
is loved
and
created,
An
!
crowd
sheep
artist
The
a
your
disdain
and
audience.
theater
degrade
not
success.
resist
must
who
of
worst
cheap
or
artist
An
the
do
135
exceptions,
soul, by
art, your
your
CHARM
some
if you
disappointed
talent,
not
those
among
will be
AND
you
happiness.
too
are
a
DRAMATIC
136
human
poor
a
...
of
kindness,
all the
public
behind
its
effort
smile.
.
.
language
of
charity, of liberty,and
i
Rise
so
the
By
!
the
be
of
motto
human
virtues
!
yourself
doing
for you
purity.
essential
the
of
out
monopoly
By
to
artist.
Make
Train
should
hearts, speak
give, give!" shall
true
your
they
the
generosity,of pity, of
uplift others
to
as
"Give,
translate
public
that
so
how
guess
to
the
from
your
!
the
Speak
able
their
to
of
have, hidden
public
be
smile,
Show
you
let the
Hide
to
love.
of
to
full
being dreaming
smiles
suffered
Speak
.
their souls
human
precious
make
you
hope,
of
.
poor
suffering!
own
.
beauty,
have
must
you
.
tears, and
your
INTERPRETATION
full
being
deception
of
LYRIC
AND
to
be
for others
exceptional:
has
what
done
been
not
!
giving
others
has
what
been
refused
to
you!
Help
each
knowing
one,
how
hard
is the
struggle !
with
And
true
world
that
artist,you
soul which
will
animate
animates
your
!
Printed
in the
United
States
of America.
you,
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conquered
Yvette
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Guilbert's
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the
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treated
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in
book
made
by
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Columbia
Graphophone
pany
Com-
are
of
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New
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:
Un
La
de
mouvement
le"gende
de
Saint
La
curiosite"
defense
inutile
Ah,
Nicolas
de
1'amour
cause
que
La
Glu
Est-il
peine!
bien
done
vrai?
du
L'Hdtel
No.
3
"
Notre
(La
petite
Ma
Grandmere
compagne
Femme
!)
de
Le
voyage
Bethleem
Joseph
et
Marie
Le
cycle
Le
Roi
du
fait
a
a
Le
lien
serre
vin
battre
tambour
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