Monday, January 14, 2013



."The idea that I had of my morality arose from the fact that in my family there was no knowledge of those special debaucheries, so common in the surroundings of land-owners, and also from the fact that my father and my mother did not deceive each other. In consequence of this, I had built from childhood a dream of high and poetical conjugal life. My wife was to be perfection itself, our mutual love was to be incomparable, the purity of our conjugal life stainless. I thought thus, and all the time I marvelled at the nobility of my projects. "At the same time, I passed ten years of my adult life without hurrying toward marriage, and I led what I called the well-regulated and reasonable life of a bachelor. I was proud of it before my friends, and before all men of my age who abandoned themselves to all sorts of special refinements. I was not a seducer, I had no unnatural tastes, I did not make debauchery the principal object of my life; but I found pleasure within the limits of society's rules, and innocently believed myself a profoundly moral being. The women with whom I had relations did not belong to me alone, and I asked of them nothing but the pleasure of the moment. "In all this I saw nothing abnormal. On the contrary, from the fact that I did not engage my heart, but paid in cash, I supposed that I was honest. I avoided those women who, by attaching themselves to me, or presenting me with a child, could bind my future. Moreover, perhaps there may have been children or attachments; but I so arranged matters that I could not become aware of them. "And living thus, I considered myself a perfectly honest man. I did not understand that debauchery does not consist simply in physical acts, that no matter what physical ignominy does not yet constitute debauchery, and that real debauchery consists in freedom from the moral bonds toward a woman with whom one enters into carnal relations, and I regarded THIS FREEDOM as a merit. I remember that I once tortured myself exceedingly for having forgotten to pay a woman who probably had given herself to me through love. I only became tranquil again when, having sent her the money, I had thus shown her that I did not consider myself as in any way bound to her. Oh, do not shake your head as if you were in agreement with me (he cried suddenly with vehemence). I know these tricks. All of you, and you especially, if you are not a rare exception, have the same ideas that I had then. If you are in agreement with me, it is now only. Formerly you did not think so. No more did I; and, if I had been told what I have just told you, that which has happened would not have happened. However, it is all the same. Excuse me (he continued): the truth is that it is frightful, frightful, frightful, this abyss of errors and debaucheries in which we live face to face with the real question of the rights of woman." . . . "What do you mean by the 'real' question of the rights of woman?" "The question of the nature of this special being, organized otherwise than man, and how this being and man ought to view the wife. . . ." Literature Network by...
» Leo Tolstoy »
The Kreutzer Sonata » Chapter 4 Her intrigued mind as time overlapped by doomsday time itself, she wore thin makeup natural look with little white jasmine dyed all over her sheared blouse with only dark blue ribbon belt wrap around her its shown while she walking on her hips a pencil skirt.. and the matching  sheer nylon to play herself underneath with the heels slip on and get high, all of these were called nirvana when you get turn on seductively like if you were me and that appearance in front of you suggested my appetite warn of touching by reaching out. My chamois boots walked me away from the reality from the table where the deck had played whole in one where no eyes ever discover such experiences in really was a phenomenon such things gave me a bit by bit sieve through my bones of crooked spine give me  experiencing  hallucination in the room full of people in another state of mind I was indeed panic to have said that I have fallen in love to such a beautiful image of paradise’s creature, I would like to pass a seduction  between a fair bien la femme who sat there between her boy
(1850-1893)
        She sat beside her piano starred aimlessly at the whiteness of ceiling, I have indeed come to Piano room found myself fallen in the darkness, hole of attraction and continuously felt that somehow deep inside her intuition she know who wrote the song well. I am hearing what is called "Etude" and with the help of angel who carried a load of fantasy of course she's the same idea wanted to be close to God. Like the magnitude of circled theory there was thunder rainstorm outside music sheet  and the left hand bass clef has begun with g flat a very difficult note of situation my thought were sucked in by this uncontrollable thought Oh ! where do I begin? with the theory of being circled , never before in my life of a bridge over trouble water have never been interested la femme, such a fanatic force of error a very cognizant’s step closer towards the space of my heart which no longer yield the emptiness of vigilante never. Again she turned it upside down the high heel slip on charmois boots while holding the key to the zero latitude of her  intreiqued mind. Words linage here in before from my own point of view not yet have been equaled the mind of fuss she was measured on what have determined in term of etude’  An étude (/ ˈeɪtjuːd /; French pronunciation: [eˈtyd], a French word meaning study) is an instrumental musical composition, usually short and of considerable difficulty, usually designed to provide practice material for perfecting a particular musical skill
The new year party was over and she had disappear left only the shadow of her smile, next silently I was questioned my self of what is going on around here in my bedroom on the adjoining vertex of hard disk's tablet ,




 Well, everything looks consistent to me. My mental state. Set on bettering mine's and sit together. It works. Previously, it did not work for you, ten times. But now it has been the way of the trap. I was a very serious day. Wedding themes are held up as a trap. It is the only reason. Do you think it should be asked in the past. Women should be offered the parties or otherwise. To be honest, I do not know about this. I know that if we have equality. Said the girl on the Internet and will be married to someone.here to persuade of happiness I who initialize disk, as it written "As time will function the world by itself ".

Étude Op. 10, No. 5, in G-flat major, is a study for solo piano composed by Frédéric Chopin in 1830. It was first published in 1833 in France,[1] Germany,[2] and England[3] as the fifth piece of his Études Op. 10. This work is characterized by the rapid triplet figuration played by the right hand exclusively on black keys. This brilliant melodic figuration is accompanied by the left hand in staccato chords and octaves.

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[edit] Significance
The so-called "Black Key Étude" is one of the most popular.[4] It has been a repertoire piece of pianists since Chopin’s time and has inspired numerous exercises, arrangements and paraphrases. Chopin himself did not believe the study to be his most interesting one. In a letter to his pianist friend and musical executor Julian Fontana he comments on Clara Wieck’s’s performance:
"Did Wieck play my Etude well? How could she have chosen precisely this Etude, the least interesting for those who do not know that it is intended for the black keys, instead of something better! It would have been better to remain silent."[5]
Von Bülow (1830 - 1894) speaks rather disdainfully of Op. 10, No. 5 as a "Damen-Salon Etüde" ("Ladies Salon Etude").[6]
[edit] Structure and stylistic traits
Like all of Chopin’s other études, this work is in ternary form A-B-A. The two eight-bar periods of the A section are characterized by frequent dynamic contrasts. Each reentry of the first bar, occurring every four bars, is marked by a forte, followed in the second bar by a piano restatement in a lower register. This capricious[7] opening in the tonic is replied by an upward movement and a syncopated accompaniment in the third and fourth bar. This pattern is repeated four times. The harmonic scheme of the A section is relatively simple, featuring tonic (first two bars) versus dominant (third and fourth bars), but the consequent of the first period shifts to B-flat major (poco rallentando, pp), while the consequent of the second one modulates to the dominant key D-flat major.
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