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Edward L. Pierce, Memoir and letters of Charles Sumner: volume 2	58	0	Browse	Search
George Ticknor, Life, letters and journals of George Ticknor (ed. George Hillard)	54	0	Browse	Search
Harper's Encyclopedia of United States History (ed. Benson Lossing)	52	0	Browse	Search
Cambridge History of American Literature: volume 3 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.)	42	0	Browse	Search
Margaret Fuller, Memoirs of Margaret Fuller Ossoli (ed. W. H. Channing)	42	0	Browse	Search
James Russell Lowell, Among my books	32	0	Browse	Search
George Ticknor, Life, letters and journals of George Ticknor (ed. George Hillard)	28	0	Browse	Search
James Parton, Horace Greeley, T. W. Higginson, J. S. C. Abbott, E. M. Hoppin, William Winter, Theodore Tilton, Fanny Fern, Grace Greenwood, Mrs. E. C. Stanton, Women of the age; being natives of the lives and deeds of the most prominent women of the present gentlemen	26	0	Browse	Search
Thomas Wentworth Higginson, Margaret Fuller Ossoli	26	0	Browse	Search
Frank Preston Stearns, Cambridge Sketches	20	0	Browse	Search
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Browsing named entities in James Parton, Horace Greeley, T. W. Higginson, J. S. C. Abbott, E. M. Hoppin, William Winter, Theodore Tilton, Fanny Fern, Grace Greenwood, Mrs. E. C. Stanton, Women of the age; being natives of the lives and deeds of the most prominent women of the present gentlemen. You can also browse the collection for Italian or search for Italian in all documents.

Your search returned 13 results in 8 document sections:

James Parton, Horace Greeley, T. W. Higginson, J. S. C. Abbott, E. M. Hoppin, William Winter, Theodore Tilton, Fanny Fern, Grace Greenwood, Mrs. E. C. Stanton, Women of the age; being natives of the lives and deeds of the most prominent women of the present gentlemen, Eugenie, Empress of the French. (search)

war is to restore Italy to herself, and not to cause her to change masters. We shall then have, upon our frontiers, a friendly people who will also owe to us their independence. On the 10th of May the emperor, after having appointed the Empress Eugenie regent during his absence, and having solemnly confided her and also their son to the valor of the army, the patriotism of the national guard, and to the love and devotion of the entire nation, was prepared to leave the Tuileries for his Italian campaign. It was five o'clock in the afternoon of a beautiful May day. The carriage of the emperor, an open barouche, stood before the grand entrance of the palace. A brilliant retinue of carriages, filled with the military household of the emperor, was also in line in the court-yard. A mounted squadron of the guards, glittering with burnished helmets and coats of mail, was gathered there, in military array, to escort the cortege through the Rue Rivoli, the Place de la Bastile, and th

ut it was clear that she had a rhetoric trimmed by no pedantic rules. It was nature's own child talking of nature's charms, her pen, like a mountain rill, neither running between walls of chiselled stone, nor roofed with Roman arches, but wandering between clumps of willows, and meandering at its own sweet will through beds of daisies and fields of blooming clover. There was nothing remarkable about her education. When she left school in 1843, at the age of nineteen, she knew rather more Italian and less algebra, more of English and French history, and less of differential and integral calculus, than some recent graduates of Oberlin and Vassar; but perhaps she was none the worse for that. Indeed, austere, pale-faced Science would have chilled the blood of this free, bounding, elastic, glorious girl. Meantime, Dr. Clarke had removed from Onondaga County to New Brighton, in Western Pennsylvania. This village is nestled between the hills among which the young Ohio, fresh from the s

es she uses,--her lyric glimpses, as Emerson called them. Thus William Hunt, the artist, acknowledged that a wholly new impulse of aspiration was aroused in him by a few stray words she had pencilled on the margin of a passage in Mrs. Jameson's Italian painters. Even the narrative in this book, and its recorded conversations, show that she exerted on travelling acquaintances this stimulating and unlocking power. This showed itself with the Illinois farmers, the large first product of the sound a surer outlet. That hour of love of which she had written came to her, and all succeeding hours were enriched and ennobled. Throwing herself into the struggle for a nation's life, blending this great interest with the devotion due to her Italian husband, she lived a career that then seemed unexampled for an American woman, though our war has since afforded many parallels. During.the siege of Rome, in 1848, the greater part of her time was passed in the hospital dei Pellegrini, which wa

Mrs. Browning died childless, she never could have written that noble poem entitled Mother and poet, in which she has expressed so powerfully the anguish of that Italian poetess, whose two sons fell fighting for Italian liberty. Nor could she have written Only a curl, that touching, exquisite poem written to console two bereaved Italian liberty. Nor could she have written Only a curl, that touching, exquisite poem written to console two bereaved friends in America. Those who are fond of making comparisons will find a good opportunity for the exercise of their ingenuity in comparing this little poem with that of Tennyson entitled To J. S., likewise written to comfort an afflicted friend. That of the laureate is a far more beautiful, work of art; after reading its melodiour poems as in no other does an intense love for God and man throb and palpitate. They glow as do no others with the enthusiasm of humanity. Whether they sing of Italian patriots, or the ragged children of London, or the fugitive slaves of America, they have an intense moral earnestness, springing from an intense love of the race.

o it unless compelled to do so by necessity or an overmastering ambition. I have heard young ladies try their powers upon the operatic stage, who had had what is called in New York a thorough musical education, and who had received from nature a sufficient voice. Before they had been three minutes upon the stage their incapacity would become so apparent as to be painful to the listener. They had every requisite for success except a five years drill from some crabbed and unrelenting old Italian master. When, therefore, we burst into wild applause after the execution of a fine aria, and when we pay for its execution a thousand dollars, it is not the mere accidental possession of a voice which we so bountifully compensate; it is culture, toil, years of self-denial, as well. The singers may be reaping the late reward of the greater part of a lifetime of most arduous exertion. To no singer who has ever delighted the public are these remarks more applicable than to the subject of

o widely sold. Within six months, over one hundred and fifty thousand copies were sold in America, and within a few years it reached a sale of nearly five hundred thousand copies. The first London edition was published in May, 1852. The next September, the publishers furnished to one house alone, ten thousand copies each day for four weeks; making a sale of two hundred and forty thousand copies in one month. Before the end of the year 1852, the book had been translated into the Spanish, Italian, French, Danish, Swedish, Dutch, Flemish, German, Polish, and Magyar languages. Ere long it was translated into every European language, and also into Arabic and Armenian. There is a bookcase in the British Museum, filled with its various translations, editions, and versions. In Italy, the powers that be published an edition in which all allusions to Christ were changed to the Virgin Mary,a piece of craftiness that argues better for the book than for its mutilators. But remarkable as

t efforts in tragedy were made after her reappearance at Rome. It was then, indeed, that she determined to dedicate herself to this branch of her art. A renowned Italian actress, Caroline Internari, advised her to this intent; and experience has shown the wisdom of that advice. Step by step, in the course of nineteen years, Risto65, was prosperously revived, both in the capital and in the provincial cities of France. At one time Ristori travelled with two distinct dramatic companies, one Italian and the other French. To London she went in 1863. Mary Stuart and Queen Elizabeth were there accounted her best impersonations; and, as every theatrical communitbor of ease as well as of love. In her musical studies the child made rapid progress; and she also acquired, with rare facility, five modern languages,--English, Italian, French, German, and Spanish. At the age of sixteen--in 1855-she made her first public appearance in opera, in the city of Malta. Amina, in Sonnambula, --a custo

artistic instinct, and kindled her religious nature. The quick spirit responded to every touch. A wise and loving man meant only to mould a wise and loving woman; but day by day the steady eyes grew more intent in their questioning; day by day the broad brow wore lines of deeper thought; day by day the elder mind caught glimpses in the younger of that strange, ineffable gift which men call genius. The brilliant girl had written verses almost as soon as she could write at all. French and Italian she readily mastered, and in time, leaving behind her the waste and weary land of German grammar, she came into such a shining inheritance of German literature as seemed to create in her new faculties of comprehension. Goethe and Schiller were her prophets and kings, and she received with large welcome the subtile philosophers of their speculative nation. While a school-girl she published first, a review of Lamartine's Jocelyn, with translations in English verse, and afterwards a more tho

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