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Quote by Edmond Rostand

“Attendez!... Je choisis mes rimes... Là, j'y suis. (Il fait ce qu'il dit, à mesure.) Je jette avec grâce mon feutre, Je fais lentement l'abandon Du grand manteau qui me calfeutre, Et je tire mon espadon; Élégant comme Céladon, Agile comme Scaramouche, Je vous préviens, cher Mirmidon, Qu'à la fin de l'envoi, je touche! (Premier engagement de fer.) Vous auriez bien dû rester neutre; Où vais-je vous larder, dindon ?... Dans le flanc, sous votre maheutre ?... Au coeur, sous votre bleu cordon ?... - Les coquilles tintent, ding-don ! Ma pointe voltige: une mouche ! Décidément... c'est au bedon, Qu'à la fin de l'envoi, je touche. Il me manque une rime en eutre... Vous rompez, plus blanc qu'amidon ? C'est pour me fournir le mot pleutre ! - Tac! je pare la pointe dont Vous espériez me faire don: - J'ouvre la ligne, - je la bouche... Tiens bien ta broche, Laridon ! A la fin de l'envoi, je touche. (Il annonce solennellement:) Envoi Prince, demande à Dieu pardon ! Je quarte du pied, j'escarmouche, Je coupe, je feinte... (Se fendant.) Hé! Là donc! (Le vicomte chancelle, Cyrano salue.) A la fin de l'envoi, je touche.”

Book:CYRANO DE BERGERAC

Work

CYRANO DE BERGERAC

This verse drama, first performed in 1897, centers on Cyrano de Bergerac, a Gascon nobleman celebrated for his wit, courage, and mastery of language, yet burdened by self-consciousness about his prominent nose. He falls in love with his cousin Roxane, but believing his appearance disqualifies him from romance, he instead becomes the ghostwriter for the handsome but inarticulate Christian de Neuvillette. Cyrano supplies eloquent letters and speeches that win Roxane's heart, creating a love triangle sustained by deception and sacrifice. The play unfolds against the backdrop of seventeenth-century France, including military campaigns against Spain, and explores themes of inner versus outer beauty, the conflict between appearance and reality, and the nobility of unrequited devotion. The work revived the tradition of Romantic drama in France and has remained widely performed and adapted across multiple media. more

Author

Edmond Rostand

Edmond Rostand, a French poet, was born on April 1, 1868, and died on December 2, 1918. His poetry was widely appreciated, particularly his dramatic works, most notably his adaptation of Shakespeare's 'Romeo and Juliet' into 'Cyrano de Bergerac'. Rostand is known for his elegant verses and profound emotional expression. more

“The Ballad of Philippe Petit —for the world's greatest rope dancer Philippe Petit hangs his high wire in the third eye of God, fills the dull air with blue fire, all alone on the big city street, Little Phillip, Philippe Petit. Philippe Petit, high priest of daring, feels wind pulse in his feet, flying high on his mystical string, between tall towers above the street. Little Phillip, Philippe Petit. Little Phillip by the Golden Fleece, making Seventh Avenue sing. He draws a magic circle of chalk, rides his cycle around in a ring, Little Phillip, Philippe Petit. Little Phillip, clown gargoyle, spewing light on the grey street, rope dances twirling sticks of fire, bright sparkle of the dark street, Little Phillip, Philippe Petit. Philippe Petit juggles fire and balls, winks at Zeus, laughs at Mars, pulls Newton's beard, sups with God, cycling his way from heaven to street. Little Phillip, Philippe Petit. Little Phillip, when we get there, you'll surely be on high, juggling molecules for your maker on the wide streets of the sky, Little Phillip, Philippe Petit. Philippe Petit, The King of Heaven has a brilliant little fool juggling fire at his footstool. A light on the dark city street, A light, a light, Philippe Petit.”

Admiration New York City Daring Clown Daredevil Ode Ballade Tightrope Walking Philippe Petit Street Performer

Author:Daniela Gioseffi

“Charakter, das ist eine Zeitfrage. Er hält soundso lange, genau wie ein Handschuh. Es gibt gute, die halten lange. Aber sie halten nicht ewig.”

Charakter

Book:Fear and Misery of the Third Reich

Source: Fear and Misery of the Third Reich

“Es geht nicht um das Gesicht, sondern um den Ausdruck darin. Es geht nicht um die Stimme, sondern um das, was du sagst. Es geht nicht darum, wie du in diesem Körper aussiehst, sondern darum, was du damit machst. Du bist schön.”

Charakter Schönheit Du Bist Schön

Book:The Host

Source: The Host

“Wackford tat nur wenige Dinge schnell, und sprechen gehörte nicht dazu. Er war fleißig, bemüht und stark wie ein junger Dockarbeiter, aber Geschwindigkeit war für ihn ein Fremdwort wie Frontispiz und Faksimile.”