Seller Inventory C More information about this seller Contact this seller 1. About this Item: 0. No Binding. Condition: Please contact seller. This is a subtly splendid watercolor by Georg Dionysius Ehret, arguably the finest flower painter of the eighteenth- century Europe. Ehret's work stands as a preeminent accomplishment of European botanical art, and the reasons for this acclaim are immediately evident in the virtuoso draftsmanship and fine, nuanced coloring of these works.
Born in Heidelburg to a market gardener, Ehret began his working life as a gardener's apprentice, eventually becoming a chief gardener for the Elector of Heidelburg and the Margrave of Baden, whose prize tulips and hyacinths he painted. Ehret soon moved on to a number of cities across Europe, collecting eminent friends and important patrons as he traveled.
His list of benefactors included the most brilliant and celebrated natural history enthusiasts of his day, among whom was Dr. Christopher Trew, a wealthy Nuremberg physician who became his lifelong patron, friend and collaborator. From until Ehret's death in , he and Trew collaborated on the publication of the important illustrated volumes Plantae Selectae and Hortus Nitidissimus, both of which added to the rising acclaim for the artist's considerable talents as a botanical painter.
Also among Ehret's admirers were the Parisian naturalist Bernard de Jussieu and the great Swedish naturalist Linnaeus, and Ehret's illustrations are some of the first works to reflect the Linnaean system of classification. Seller Inventory r. More information about this seller Contact this seller 2. About this Item: No Binding. Condition: Please Contact Seller. These subtly splendid watercolors are by Georg Dionysius Ehret , arguably the finest flower painter of the eighteenth- century Europe.
Born in Heidelburg to a market gardener, Ehret began his working life as a gardener's apprentice, eventually becoming a chief gardener for the Elector of Heidelburg and the Margrave of Baden, whoseprize tulips and hyacinths he painted. For the engraving of the Canada Lily, Catesby copied an earlier watercolor by Ehret of the Martagon, nearly identical to the example in this set.
Today, Ehret's images are widely considered the most desirable to emerge from that monumental publication, and he collaborated with Catesby in other ways, too, in the compilation of the Natural History, offering advice or adding significant elements to Catesby's initial compositions. Catesby was influenced greatly by Ehret's accomplished style, especially in the representation of three- dimensionality, but the older artist was never able to attain the same high level of meticulous realism and vitality.
Ehret, in turn, drew on a number of Catesby's discoveries and observations in his own work see the Bignonia, above left. Unlike Catesby, Ehret was never able to travel to America, but became fascinated with examples of New World flora that he saw in English natural history collections, such as that of Peter Collinson, a friend and patron of both artists. Painted just at the time of the publication of Catesby's Natural History, these five watercolors are spectacular early representations of American flora.
In England, where he eventually settled, Ehret became the only foreigner to be elected a Fellow of the Royal Society. Though Ehret's work is best known through printed illustrations done in collaboration with Trew, even his impressive engravings cannot compare with the vibrancy,color, and detail of the original paintings.
Only in his remarkably sensuous and accurate watercolors is the full extent of his mastery and sensitivity clear. Ehret's delicate modulations of tone and shadow bring a vitality to these exquisite original watercolors, belying their ostensibly documentary purpose. His distinctive style transcends scientific illustration, achieving a level of beauty that has rarely been equaled in the history of botanical art. Seller Inventory D.
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More information about this seller Contact this seller 3. More information about this seller Contact this seller 4. Published by Venetiis [Venice]: Ex officina Valgrisiana. Small 8vo, ff. With the last two preliminary leaves c7? Contemporary vellum endpapers renewed, lacking ties , spine lettered boldly in ink? Chirurgia Vesal? Small stamp removed from title-page leaving a slight scar, light browning or foxing a little heavier in four gatherings.
Some early manuscript marginal notes mostly in the? This book was published in the year Borgarucci succeeded to the chair of anatomy at Padua, and is stated on the title-page as being written by Vesalius and edited by Prospero Borgarucci, who was professor at the university at Padua and formerly a pupil of Vesalius. Although its authenticity has been in question since even before it was published, the Chirurgia Magna was included by Boerhaave and Albinus in the collected works of Vesalius, and it does contain the text of the Epitome.
However, it is now seen as not having been written by Vesalius, although it should be remembered that Vesalius had actually taught surgery in Paris and had intended to write a book on the subject. That the? However, one may properly suggest that what Borgarucci bought in Paris and edited and published may have been the class notes of some pupils of Vesalius. The custom of publishing students? Today we may pass judgment on his [i. Arturo Castiglioni in Cushing, Bio-bibliography, pp. Seller Inventory More information about this seller Contact this seller 5.
Two Octavo notebooks. Original quarter cloth notebooks with blue card boards. The folder consists of large folded loose leaves of paper ca. With ca.
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All images with period captions in pencil or ink on the mounts or versos. Paper of the notebooks slightly age toned, several photos in the album slightly faded, otherwise a very good collection.? Important collection of original manuscripts, photographs and ephemera from the estate of doctor Jean Logerais, who in the early s was the chief medical official? Two notebooks from the collection contain early 20th century copies the notebooks were compiled in s of 36 letters from Jean Logerais? May The letters, illustrated with occasional ink drawings, vividly and in great detail describe Dahomey?
The main text is supplemented with a number of original manuscripts and ephemera, including a hand drawn plan of the part of Porto Novo with the hospital, and the doctor? Le Medicine en Chef? Le Wharf de Cotonou;? A small printed card with a black mourning border, dated? Porto Novo, le 27 mai ,? Antoine, the pig, captured and assassinated on 26 May, , at the bloom of his life,? The photographs include over twenty interesting images taken in Porto Novo and Cotonou: views of a packet boat at the Cotonou raid, Porto Novo market and the lagoon, a tam tam procession, group portrait featuring King Toffa I c.
Five photos taken during a trip to Abeokuta British Nigeria show the Olumo Rock, local lepers, and the Catholic mission of father Jean-Marie Coquard with a portrait of Jean Logerais inspecting a sick child, and a group portrait of children at the mission. A group of photos dated showcases Logerais? Louis to Kayes on the Senegal River, the government building, portraits of French residents ; eleven group portraits of French residents taken in Kati; four views of Koulikoro general and of the Case du medecin , scenes of a tam tam dance accompanied by balafon, portraits of balafon players, native women grinding wheat, and others.
More information about this seller Contact this seller 6. Published by Apud Petrum Ricchini, Cremonae Half Vellum. Condition: Very good. Large paper copy. Two works bound together. Later half vellum and marble boards with new brown calf label; red speckled edges. Binding is very good with a few minor wormholes at upper areas of rear hinge, not through rear end paper. Collation: [10 ff. Text is exceptionally clean and bright. One page has two Copy comes from an Italian book collector who kept the book in pristine condition. These two publications were originally published as pamphlets.
The first title is divided into two parts. The first concerns Ghisi s medical practice in Cremona: activities with disease and illnesses, with numerous literature citations referenced in text; details in foot notes. The second part contains his detailed analysis of diphtheria epidemic, "Istoria delle angine epidemiche. Andrea Bellunensis is the pseudonym of Andrea Alpago. Valcarengi was "a doctor of some renown who had founded a practical school of medicine in Cremona" DSB V.
Valcarenghi, Dr. Ghisi further notes the importance to have a correct accurate text. Careful comparison of digitized copies of De limonibus by Alpago and Ghisi, respectively, reveals that there are occasional clear difference not only in text with addition of a few words here and there, but grammatical punctuation as well. Thus, the edited text of De Limonibus has made valuable minor text and punctuation corrections, improving the readability of details for lemon morphology, quality of fruit, medicinal properties to name a few.
Ghisi s desired that his work on De Limonibus be an improvement of Andrea Bellunensi s translation of the Arabic text of the physician, Ibn al-Bitar. He was successful in this effort. This is a fine rare copy of the first citrus book originally written in Arabic and later translated in by Andrea Bellunensi Alpago into Latin. Ghisi s edited copy of De Limonibus has added clarity to Alpagos text.
As such, this is the definitive Latin edition for De Limonibus. No other edition or editing has appeared since Ghisi s publication. Andrea Alpago was a physician who lived in the sixteen century. In his eagerness to become more fully acquainted with these works, and to read them in their original tongue, Alpago was induced to travel into the East, and spent much time in obtaining a knowledge of the Arabian language.
He went to Cyprus and Egypt, and he is said to have remained thirty years in the East, making his principal residence at Damascus. On his return to Italy, he was presented with a chair of medicine in the school at Padua; he died suddenly a few months after his appointment. The labours of Alpago were principally directed to the works of Avicenna and other Arabian physicians many of which he translated into Latin," which included "Embitaris Tractatus de Limonibus ab Andr.
Alpago La tinitate donatus Parisiis ," Soc. Useful Knowledge, He then studied under Paolo Valcarenghis in Cemona before moving to Florence. He returned to Cremona to practice and in combated an epidemic, which struck a large number of children and adolescents in the Cremona region. Ghisi made careful clinical and meteorological observations on the epidemic, publishing the results in a pamphlet entitled Lettre mediche del Dottor M. Of particular note is the section entitled "Istoria delle angine epidemiche," the first truly complete scientific description of diphtheria.
DSB V, p. Little is known about Ghisi s interest in De Lemonibus other than what he mentions in the dedication to Dr. He may have provided lemon juice to children and adults that he attended. Haller v. More information about this seller Contact this seller 7.
Published by Antwerp From: Sokol Books Ltd. About this Item: Antwerp, Slightly dusty in borders, a couple of small wormholes affecting blank margin only. The themes of light and darkness that run through these cantatas felt very much at home here. All three can be traced back to Advent cantatas composed by Bach after his promotion to Konzertmeister in Weimar in , and all three have libretti by the court poet, librarian and numismatist, Salomo Franck. The period between Advent Sunday and Christmas at the Weimar court was not, as it was in Leipzig, a tempus clausum in which no figural music might be performed.
The result is a unique fusion of prodigious music from two of his most fertile periods of cantata composition, those groundbreaking bursts he made in and One could pretend to notice the stylistic joins between the two versions and styles, but that would be disingenuous. Joshua Rifkin suggests that the trumpet part was added to the first chorus and last aria only for the Leipzig revival and that the oboe adds nothing substantial to the musical fabric of the first movement, even concluding that it sounds better with just strings, and that the dialogue between trumpet and voice in the tenth movement bars was just a lucky coincidence.
As we have seen, the fact that the organ in the ducal chapel in Weimar was tuned in high Chorton—probably a whole tone above the regular pitch—meant that Bach could count on his string players, but not his wind players, tuning up to the organ pitch. The autograph score shows the oboe line notated with a double clef, a soprano clef C1 in the key of A, followed by a violin clef G2 with no key signature, from which we can deduce that the oboe was tuned in low Kammerton playing in C major alongside the strings and organ tuned in high Chorton and playing in A major.
It seems that it was performed in Zerbst in , so perhaps it should be counted amongst those lost cantatas, revived and adapted for a different Sunday. Bach then calls on his string ensemble to underpin the rueful, penitential gestures of his alto soloist in an extended accompagnato, and then an obbligato violin which he himself may have played to convey the cleansing effect of baptismal water in a meditative aria, also for alto.
The autograph score concludes here, with no music for the final chorale. Still more than in the opening chorus of BWV70, which originally came two weeks earlier, he finds ways to synthesise the old and the new: to create a mosaic out of a purely instrumental ritornelli, which in turn generate the material for b up-to-the-minute fugal expositions voices with doubling instruments , c marvellously elastic vocal episodes full of cross-rhythms bestriding the bar lines with just the continuo in support of the choir in the older motet style partly homophonic, partly responsorial that he had been developing ever since he first embarked on cantata composition, and d further ritornelli, now enriched by the presence of the voices operating in pairs.
This last feature is just one in a series of little duet exchanges that begin in bar one between trumpet and bassoon and pass to and fro across the whole colour spectrum of his vocal and instrumental ensemble. He even has time to incorporate a double echo f — p — pp into this taut overall structure. We all used the old choir-room to change in, treading the same boards that Bach trod when attending choir practice. The church, which was begun in , is unusual and slightly uneven, its wonky slender pillars set at an angle. Die romanische Basilika St. Wir waren im Kirchenraum so verteilt, dass wir Verbindung zu dem in allen drei Apsisbereichen sitzenden Publikum hatten.
Die Themen Licht und Finsternis, die sich durch diese Kantaten ziehen, waren in dieser Umgebung gut aufgehoben. November in Leipzig vornahm. An dem folgenden Accompagnato Nr. Die interpretatorische Herausforderung erstreckt sich auch auf den Duettpartner des Soprans, die Oboe. In der neuen Version sind die Arien zwar noch vorhanden, aber in eine neue Reihenfolge gestellt, und die Bass-Arie Nr.
Letzteres Merkmal ist nur eines in einer Reihe kleiner duettierender Austausche, die im ersten Takt beginnen zwischen Trompete und Fagott und sich hin und her durch das ganze Farbspektrum seines Vokal- und Instrumentalensembles bewegen. Doch die eindrucksvollste der vier Arien ist die letzte Nr.
Old Winter is the man for me, — Stout-hearted, sound and steady ; Steel nerves and bones of brass hath he ; Come snow, come blow, he's ready. If ever man was well, 'tis he ; He keeps no fire in his chamber, And yet from cold and cough is free In bitterest December. He dresses him out-doors in mom, Nor needs he first to warm him ; Toothache and rheumatis' he'll scorn, And colic don't alarm him. In summer, when the woodland rings, He asks, "What mean these noises?
Und wenn er durchzieht, stehen wir Und sehn ihn an und frieren. BBDC moudbghkdt. Such glee his frame is racking. Near the north pole, upon the strand. He has an icy tower ; likewise in lovely Switzerland He keeps a summer bower. And cannot choose but shiver. Brooks, The moon is up, in splendor, And golden stars attend her ; The heavens are calm and bright ; Trees cast a deepening shadow.
And slowly off the meadow A mist is rising, silver-white. Night's curtains now are closing Round half a world, reposing In calm and holy trust ; All seems one vast, still chamber. Where weary hearts remember No more the sorrows of the dust. Hab' nichts, mich dran zu freuen, Bin dumm und unijestalt Ohne Mut und ohne Gewalt ; Mein spotten und mich scheuen Die Menschen jung und alt ; Bin weder warm, noch kalt!
Hab' nichts, mich dran zu freuen. Bin dumm und ungestalt. In ganz Europia, ihr Herren Zecher! Ist solch ein Wein nicht mehr. Let with a wreath the brimming bowl be crowned, And quaff the draught divine! Sir Topers, not in Europe to be found Is such another wine. In Hungary nor Poland grows the vine Nor where they parlez-vous. There may the knight St Vitus fetch his wine Tis mote than we will do.
How could it else be generous and mild, Yet with such strength imbued? Yet grows it not in all Germania's zones, And many a rock and hill, Are like whilom the Cretans, barren drones Not worth the place they fill. There groweth aught upon Thuringia's hiUs, They call it wine in vain, Tis not : its juice no heart with gladness fills, It wakes no vocal strain. Da wachsen sie am Ufer hin und geben Uns diesen Labewein.
The Bloxberg is the German long-legged dt, He blusters but with sound ; Hence, o'er him Nick and all his witches flit In giddy mazes round. The Rhine!
Jahrbuch ( History ) - Wissenschaftlichen Wissen schaffen
Tis there upon the shore and mountain steep That grows this luscious wine. Then let us quaff it, let us every where E'er joy and mirth combine! And if we knew a man, bow'd by despair, We'd give to him the wine. BaskerviUt, How brightly and serenely She takes her nightly round I Who in yon starry chaplet Is thus with beauty crowned? Wer sagt mir an, wo Weinsberg liegt? Kommt mir einmal das Freien ein.
So werd' ich eins aus Weinsberg f rein. Einstmals der Kaiser Konrad war. Thou in a life of gladness Must surely take delight. For all our joys we thank thee, We thank thee for thy moon, Who richly thus rewaideth The anxious cares of noon. Which way to Weinsberg?
Full many a maid of noble clay, And matrons, wise and witty ; And if ever marriage should happen to me, A Weinsberg dame my wife shall be. King Conrad once, historians say. Around the walls the artillery roared. And bursting bombs their fury poured. But naught the littlctown could scait ; Then red with indignation, He bade the herald straight repair Up to the gates, and thunder there The following proclamation : " Rascals! Drob als er den Avis also Hinemtrompeten lassen. Das Brot war teuer in der Stadt ; Doch teurer noch war guter Rat.
O weh mir! Wir gehn, wir gehn capores! Oh weh mir armen Korydon! Es juckt mir an der Kehle schon. Gibt einen klugen Einfall an. Der Alles Volk erbauet, Den ihr, sofern ihr anders wollt. Belachen und beklatschen sollt. To ever ' house a death-knell went; Such murder-cries the hot air rent Might move the stones to pity. Then bread grew dear, but good advice Could not be had for any price.
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Then, " Woe is me! And " Kyrie Eleison! Hy neck, — my neck! Yet oft, when counsel, deed, and prayer Had all proved unavailing, When hope hung trembling on a hair, How oft has woman's wit been there! Of olden time, were famed abroad. A youthful dame, — praised be her name! Last night had seen her plighted,— Whether in waking hour or dream. Conceived a rare and novel scheme. Which all the town delighted ; Which you, if you think otherwise, Have leave to laugh at and despise. At midnight hour, when culverin And gun and bomb were sleeping. Before the camp, with mournful mien, The loveliest embassy were seen All kneeling low and weeping.
M Die Wdber sollten Abzug han. Drauf als der Morgen bricht hervor, Gebt Achtung! Meint' unsre Frau es auch nur so! Sagt mir doch, wo Weinsberg liegt? Bat, when the morning gilt the sky, What happened? Give attention. The city gates wide open fly, And all the wives came trudging by. Full many a sprig of court, the joke Not relishing, protested, And urged the king ; but Conrad spoke : "A monarch's word must not be broke! Bravo I Our lady guessed it would be so.
Court sprigs with city daughters. The mayor's wife— O rarest sight! Ah, where is Weinsberg, Sir, I pray? Fun many a maid of noble clay. And matrons, wise and witty ; And if ever marriage should happen to me, A Weinsberg dame my wife shall be. Tr, by C. T, Brooks. Schelmenauge, blinzle nicht! Gib Bescheid auf meine Frage! Reizend, Liebchen, das ist wahr. Reizend bist du offenbar. Aber reizend her und hin! Wer wird dich vor Allen kronen?
Reizend her und reizend hin! Viel noch fehlt zur Kaiserin! Roguish eye! Don't look away. You're not homely, that is true! You've an eye that's clear and blue, Cunning mouth and little nose Have their merits, 1 suppose. Charming is the word to fit it, — Yes, you're charming ; 1 admit it. I can not quite allow Beauty's crown would suit your brow. Charming there and channing here Do not make a queen, my dear. For I know a hundred girls, Brown as berries, fair as pearls. Each of whom might claim the priae Given to loveliest lips and eyes — Yes, a hundred might go in, Challenge you, sweet child, and win.
A hundred beauties, did I say? Why, what a number! Yet there may A hundred thousand girls combine To drive thee from this heart of mine May try together, try alone, — My empress they can not dethrone. Whence, then, this imperial right Over me, your own true knight?
Dich von Thron und Reich zu jagen 1 Hunderttausend! Welche Zahl! Schelmenauge, Schelinenmund, Sieh mich an und thu" mir's kund! He ; warum bist du die Meine? Du allein und anders keine? Sieh mich an und thu' mir's kund, Schelmenauge, Schelinenmund! Sinnig forsch' ich auf und ab, Was so ganz dir hin mich gab,— Ha! Durch nichts mich so zu zwingen; Geht nicht zu mit rechten Dingen. Ich kam und ging, ich ging und kam, Wie Ebb' und Flut zur See.
Ganz wohl mir that es, wann ich kam, Doch, wann ich ging, nicht weh. Und es geschah, dass nach der Zeit Gar Anders ich vernahm ; Da that's mir, wann ich schied, so leid. I wish to understand How I came into your hand. Look at me and make reply : Tell me roguish look and eye. Tied so tight, by miking, dear? Up and down, sweet sorceress, tell! Whefie's your wand, and what's your spell? F, Clarke. Long time I knew the lovely Sue, How beautiful was she! Her modesty and virtue too I could not fail to see. I came and went, and went and came.
Like tide, in ebb and flow, With pleasure always when 1 came, Nor sorrowing to go. And joy with her to be. My pole-star, beaming bright! Ich kam und ging, ich ging und kam. Wie, wo und wann sich alles paart, Warum sich's liebt und kOsst? Ihr hohen Weisen, sagt mir's an! And then I grew dull, dumb, and shy I One filled my soul, 'twas she! No bloom or beauty caught my eye, She only bloomed for me! Nor sun, nor moon, nor star gave light, While she resplendent slione : Whene'er she passed before ray sight, She dazzled me, I own.
And finally it came to pass That all was changed again, Not less my darling was the lass, Or beauteous did remain : I came and went, and went and came, Like tide in ebb and flow, With pleasure always when I came. Nor sorrowing to go. Ye sages, thought to be aware Of all below, above, When, how, and where do two hearts pair, What is the bond of love? Ye learned sages, answer, pray, Explain, 1 beg of ye, When, how, and where love makes his way, And why this happened me?
But I have thought in vain : For love is like the wind at 'sea. Yon feel its breath, I know. But can you tell whence comes it free. Or whither it will blow? Doch, liebe Blttmchen, hoffet nicht Von mir ein Sterbelied. Denn Molly trillert hundertmal So hell und silberrein. Dass ich singen und preisen kann.
Quran translation in german language translated by bubenheim elyas
Zu singen und preisen den braven Mann. But flow'rets dear, expect not me To make a dirge my song : For true to me yon maid I see. Whose beauty is lifelong! Whene'er her purple lip I touch, A moment's gone, of bliss! No beny, cherry, has so much Of nectar as her kiss! O May! VB UAH. High sounds the song of the valiant man, Like clang of bells and organ-tone. Him, whose high soul brave thoughts control.
Not gold rewards, but song alone. Auf Pfeilern und auf Bogen schwer. Laut heulten Sturm und Wog' um's Haus. Erbarme dich! Wer rettet mich? The thaw-wind came from southern sea. Like frighted herds, when the wolf they see. It sweeps the fields, through the forest breaks, And the ice bursts away on streams and lakes. On mouniain-top dissolved the snow ; The falls with a thousand waters dashed, A lake did o'erflow the meadow low.
And the mighty river swelled and splashed. Along their channel the waves rolled high. And heavily rolled the ice-cakes by. On heavy piers and arches strong. And midway stood a house thereon. There dwelt the tollman, with child and wife ; O tollman! And it groaned and droned, and around the house Howled storm and wind with a dismal sound ; And the tollman aloof sprang forth on the roof.
And gazed on the tumult around : " O merciful heaven! Lost, lost, and forlorn! The trembling tollman, with wife and child, He howled still louder than storm-winds wild. As one by one they shot away. To the middle approaches the overthrow! Wann nennst du ihn, mein schdnster Sang? Bald nahet der Mitte der Umsturs sich. O braver Mann! Braver Mann! Zeige dich! Rasch gallopiert' ein Graf hervor, Auf hohem Ross ein edler Graf. Was hielt des Grafen Hand empor? Ein Beutel war es, voll und straff.
Ist's der Graf? Doch ich weiss einen bravem Mann. Zeige dich I Schon naht das Verderben sich fOrchterlich. Retter I Komm' geschwind! Frisch auf gewagt! When soundest thou, song of the valiant man. Like clang of bells and organ-tone? Say on, say on, my noble song! How namest thou him, the valiant one? O brave man! Swift galloped a count forth from the crowd. On a gallant steed, a count full bold. In his hand so free what holdeth he?
It is a purse stuffed full of gold. Two hundred pistoles to him who shall save Those poor folks from death and a watery grave Who is the brave man? Is it the count? Say on, my noble song, say on! By Him who can save! Fearfully the ruin approaches now! And ever higher swelled the flood, And ever louder roared the blast, And ever deeper sank the heart of the keeper; Preserver!
And as i ier after pier gave way in the swell, Loud cracked and dashed the arch as it felL Halloo! In vain doth the tollman with wife and child. For rescue howl through the storm-winds wild. Doch wehe! Der Nachen war alku klein. Um Retter von allen zugleich zu sein. Sag' an, sag' an, mein braver Sang f Der Bauer wagt' ein Leben dran. Doch that er's wol um Goldesklang? Der Ir. And boldly, in Heaven's name, into The nearest fishing boat sprang he ; Through the whirlwind wide, and the dashing tide, The preserver reaches them happily. But, alas! And thrice he forced his little boat Through whirlwind, storm, and dashing wave ; And thrice came he full happily, Till there was no one left to save.
And hardly the last in safety lay, When the tost of the ruins rolled away. Who is, who is the valiant man? The peasant, I know, staked his life on the throw, But for the sake of gold 'twas done. Had the count not promised the gold to him, The peasant had risked neither life nor limb. By Heaven!
Beat the peasant's heart in his kirtle gray. And, turning away, went forth alone. Unsterblich su preisen den braven Mann. Thank Heaven for song and praise, that I can Thus sing and praise the valiant man! How long must we be parted? The king and empress weary grew Of feud and war's disaster. They curbed their wills, swore friendships true. And Peace again was master ; Each host came home, with sing and song. Thank God! Sad for Lenorc this meeting. Lost every kiss and greeting. Die Mutler lief wol hin zu ihr : — Ach, dass sich Gott erbarme! Du trautes Kind, was ist mit dir?
Und schloss sie in die Arme. Nun fahre Welt und Alles hin! Bei Gott ist kein Erbarmen, O weh, o weh mir Armen! Kind, bet' ein Vaterunser! Was Gott thut, das ist wohlgethan. Gott, Gott erbannt sich unser! Eitler Wahn! Gott hat an mir nicht wohlgethan! Was half, was half mein Beten? Kein Sakrament kann Leben Den Toten wieder geben. She asked them all if aught they knew Of William, but not any Could give to her the slightest clue, Not one, of all the many.
Then quickly came her mother mild, Il j loring Heaven's blessing, And to her heart she drew her child, With kisses her caressing. World, all farewell, since hope hath Hown ; 'Gainst me closed Heavcn'h portal.
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Woe, woe is me, poor mortal! What God decrees, is well decreed, WUl help us in affliction! For God to me hath not done well : My prayers were unheeded. And now they are not needed! Thou'rt just and mild. Oh, heed my supplication ; The holy sacrament, my child, Will give thee consolation! No sacraments, my mother, The fire in me can smother. Lass fahren, Kind, sein Herz dahin! Er hat es nimmermehr Gewinn! Hin ist bin! Verloren ist verloren! Der Tot, der Tot ist mein Gewinn! O wir' ich nie geboren! O weh, o weh mir Annen!
Sie weiss nicht, was die Zunge spricht. Kind, vcrgiss dein irdisch Leid, Und denk' an iott und Seligkeit! Was ist Seligkeit? O Mutter! Bei ihm, bei ihm ist Seligkeit! Lisch aus, mein Licht, auf ewig aus! Sie fuhr mit Gottes Vorsehung Vermessen fort su hadern. Death, death is my reward alone ; Bom, would that I were, never I Out, out, forever out my light!
Die 'mid these horrors black as night! She knows not what she's sajring. Away, with earthly woes away, Of God, salvation think, I pray, — No bridegroom then will tarry. Out, out, forever out, my light! Die 'mid these horrors Uack as night! Thus in her brain, in every vein. Did rage wild desperation, She rashly railed, with cries profane, 'Gainst God without cessation : She wrung her hands and beat her breast. Till sank the sun far in the West, 1 ill golden stars above her Night's asure vault did cover.
Thu' auf mein Kind! Schufst, Liebchen, oder wachst du? Wie bist noch gegen mich gesinnt? Und weinest oder lachst du? Geweinet hab' ich und gewacht ; Ach, grosses Leid erlitten! Wo kommst du her geritten? Und will dich mit mir nehmen. Herein, in meinen Armen, Herziiebster, zu erwarmen! Lass sausen, Kind, lass sausen! Der Rappe scharrt, es klirrt der Sporn ; Ich darf allhier nicht hausen.
Muss heut noch hundert Meilen Mit dir ins Brautbett eilen. Und horch! Die elf schon angeschlagen. Art thou awake, or sleeping? Art true to me, my own Lenore? Art laughing, or art weeping? Have watched and wept so long for thee — Till flown, I thought, my reason : Whence comest at this season? Rode from Bohemia hither! I started late, long can not wait, And thou must with me thither. My charger snorts and paws the ground. Away we must together. Quick, tie thy dress, to horse, away! Three hundred leagues, ere break of day,. To nuptial couch must carry, — No longer dare we tarry.
Oh, Ust I the clock is striking, stay! It toUs the hour eleven! Still, ktthl und klein! Sechs Bretter und zwei Brettchen! Der Mond scheint hell I Hurrah! Graut Liebchen auch vor Toten? Was flatterten die Raben? But eight rough boards doth couch contain, Small, still and chill's the other! Quick, swing and spring, sit back of me. The guests are congregated. With longing we 're awaited. The sparks and pebbles scatter. On right and left, like lightning flashed, Past meadow, land and heather! The bridges thundered as tlicy dashed On to their goal together!
Hurrah I how quickly ride the dead! The dead, my darling, fearest? Hark, tolling bell! Hark, funeral knell! Like croaking frogs the singing. From bogs ud marshes-ringing. Mit, mit zum Brautgelage! Hart hinter's Rappen Hufen. Und immer weiter, hop hop hop! Gesindel, hier! Komm hier!
Gesindel, komm und folge mir! Tanz' uns den Hochzeitreigen, Wann wir zu Bette steigen! The corpse and all, obeyed his call,' With shrieks and hideous laughter ; In furious gallop on they fly, Like fiery meteors through the sky. With click and clang and clatter, And sparks and pebbles scatter. On right and left how swiftly flew Trees, mountains, hedges, flowers! On right and left flew swiftly too Town, hamlets, cots and towers.
The dead, beloved, fearesl? Moon doth reveal, their phantom reel, Their hideous grotesque capers. With dancing and with singing To nuptial couch us bringing.