By Jean François Paillard
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Extra resources for La musique Française Classique
I know that I shall be astonished by some thought which will presently come to me—yet I look for this surprise, I build and count on it, as I count on my certainty. I hope for something un expected, and aim towards it; I need my known and my unknown. What, then, will give us an idea of the true maker of a fine work? He is not positively anyone. What is the Self, if I see it change its opinion, change sides, during the course of my work, to the point of disfiguring the work in my hands; if each change of mind can entail immense modifications; and if a thousand accidents of memory, attention, or sensation which befall my mind finally appear in the finished work as the essential ideas and original objects of my efforts?
The sensual enjoyment that is shared, or rather doubled, between lovers always risks a certain monotony. Two people who accord each other al most the same delights sometimes end by finding that they are too Uttle different. " In this the goddess shows a profundity that she gained perhaps from her brushes with Minerva. She has come to understand that love cannot be infinite if it is reduced to being finished as often as it can. With the majority of lovers, one too often sees that their minds are ignorant of each other as naturally as their bodies know each other.
What pleasure can be derived nowadays from this gallant tale? It is revived, perhaps, by the contrast of such a sweet form and such clear melodies with our system of discords and the tradition of excess that we have so docilely accepted. Our burning eyes seek rest in those melting graces and those translucent shades; our exacerbated palate finds novelty in pure water. Something well said may even charm us of itself. La Graulet, 1920 Funeral Oration for a Fable DAPHNIS loves Alcimadura. Alcimadura loves neither Daph- nis nor Love.
La musique Française Classique by Jean François Paillard