Troubled Water

[...] Un jour de congé, enfin, j’avisai au grenier une vieille petite malle longue et basse, couverte de poils de porc à demi rongés, et que je reconnus pour être la malle d’écolier d’Augustin. Je me reprochai de n’avoir point commencé par là mes recherches. J’en fis sauter facilement la serrure rouillée. La malle était pleine jusqu’au bord des cahiers et des livres de Sainte-Agathe. Arithmétiques, littératures, cahiers de problèmes, que sais-je ?… Avec attendrissement plutôt que par curiosité, je me mis à fouiller dans tout cela, relisant les dictées que je savais encore par cœur, tant de fois nous les avions recopiées ! « L’Aqueduc » de Rousseau, « Une aventure en Calabre » de P.-L. Courier, « Lettre de George Sand à son fils »… Il y avait aussi un « Cahier de Devoirs Mensuels ». J’en fus surpris, car ces cahiers restaient au Cours et les élèves ne les emportaient jamais au dehors. C’était un cahier vert tout jauni sur les bords. Le nom de l’élève, Augustin Meaulnes , était écrit sur...

As a dancer and choreographer, Martha Graham broke the rules. She created a dance technique that, along with her groundbreaking choreography, helped spark the revolution known as modern dance. With close to 200 dances in her repertory, Graham was among the most prolific and significant choreographers in dance history, and works such as Appalachian Spring have made her an American cultural icon. Her unique dance vocabulary evolved over the years to meet her changing choreographic needs, but was eventually codified into a standard syllabus, and now, Graham-based movement is taught in studios around the world. How To Prepare: If you’re new to Graham, spend a day paying attention to your breathing and how it changes with different activities, recommends Christine Dakin , former principal dancer with the Martha Graham Dance Company and co-artistic director from 2002-2005. In class, those observations will help you better understand how to use breath efficiently as you move through fundame...

[...] Philip caminhou pelo jardim gotejante do orvalho matinal. Os pássaros cantavam alegremente. O céu estava azul, mas o ar salino era suave e fresco. as rosas estavam em plena floração. O verde das árvores, o verde da relva, era vivo e brilhante. Philip caminhava e pensava no mistério que se processava naquele quarto. Isso provocava-lhe uma comoção especial. Pouco depois, Mrs. Foster veio dizer-lhe que o tio desejava vê-lo. O coadjutor estava a guardar as suas coisas na malinha preta. O doente voltou um pouco a cabeça e recebeu o rapaz com um sorriso. Philip ficou atónito, pois havia naquela face uma alteração, uma extraordinária mudança. Os olhos já não se mostravam apavorados e a crispação nas feições desaparecera. Parecia tranquilo e feliz.  — Estou bem preparado agora — disse. E a sua voz tinha uma tonalidade diferente. — Quando o Senhor houver por bem chamar-me, estarei pronto para lhe entregar a alma nas mãos.  Philip não falou. Bem via que o tio era sincero...

« Tout le monde sait comment se font le vin, le cidre, l’hydromel en général toutes les boissons fermentées spiritueuses. On exprime le jus des raisins des pommes ; on étend d’eau ce dernier ; on met la liqueur dans de grandes cuves, on la tient dans un lieu dont la température soit au moins de 10 degrés du thermomètre de Réaumur . Bientôt il s’y excite un mouvement rapide de fermentation, des bulles d’air nombreuses viennent crever à la surface, quand la fermentation est à son plus haut période, la quantité de ces bulles est si grande, la quantité de gaz qui se dégage est si considérable, qu’on croiroit que la liqueur est sur un brâsier ardent qui y excite une violente ébullition. Le gaz qui se dégage est de l’acide carbonique, quand on le recueille avec soin, il est parfaitement pur exempt du mêlange de toute autre espèce d’air ou de gaz. Le suc des raisins, de doux de sucré qu’il étoit, se change dans cette opération en une liqueur vineuse qui, lorsque la fermentation est complette...

And here face down beneath the sun And here upon earth’s noonward height To feel the always coming on The always rising of the night: To feel creep up the curving east The earthy chill of dusk and slow Upon those under lands the vast And ever climbing shadow grow And strange at Ecbatan the trees Take leaf by leaf the evening strange The flooding dark about their knees The mountains over Persia change And now at Kermanshah the gate Dark empty and the withered grass And through the twilight now the late Few travelers in the westward pass And Baghdad darken and the bridge Across the silent river gone And through Arabia the edge Of evening widen and steal on And deepen on Palmyra’s street The wheel rut in the ruined stone And Lebanon fade out and Crete High through the clouds and overblown And over Sicily the air Still flashing with the landward gulls And loom and slowly disappear The sails above the shadowy hulls And Spain go under and the shore Of Africa the gilded sand And evening vanis...

[...] The maternal effect may be attributed to an influence of the chromosomal composition of the mother upon the eggs which will give rise to the offspring exhibiting the lethal ratio previous to the time when these eggs leave the mother's body. The presenccin such eggs, after fertilization, of the female-determining chromosomal complex as contrasted with the presence of the male-determining chromosomal complex is responsible for the differential death rate. It has long been known, as shown for example by the extensive work on reciprocal species crosses in echinoderms and teleosts, that the developing embryo may for a longer or shorter period exhibit characters typical of the race from which the egg was derived. But an intrinsic difficulty from the genetic standpoint in much be raised to maturity and bred of this work is that the hybrids cannot be raised to maturity and bred. It is only when succeeding generations are obtained that we have the data necessary for determining whethe...

“It is possible in a city street neighborhood to know all kinds of people without unwelcome entanglements, without boredom, necessity for excuses, explanations, fears of giving offense, embarrassments respecting impositions or commitments, and all such paraphernalia of obligations which can accompany less limited relationships. It is possible to be on excellent sidewalk terms with people who are very different from oneself, and even, as time passes, on familiar public terms with them. Such relationships can, and do, endure for many years, for decades; they could never have formed without that line, much less endured. The form precisely because they are by-the-way to people’s normal public sorties. ‘Togetherness’ is a fittingly nauseating name for an old ideal in planning theory. This ideal is that if anything is shared among people, much should be shared. ‘Togetherness,’ apparently a spiritual resource of the new suburbs, works destructively in cities. The requirement that much shall b...