french

But genius, and even great talent, springs less from seeds of intellect and social refinement superior to those of other people than from the faculty of transforming and transposing them. To heat a liquid with an electric lamp requires not the strongest lamp possible, but one of which the current can cease to illuminate, can be diverted so as to give heat instead of light. To mount the skies it is not necessary to have the most powerful of motors, one must have a motor which, instead of continuing to run along the earth's surface, intersecting with a vertical line the horizontal line which it began by following, is capable of converting its speed into lifting power. Similarly, the men who produce works of genius are not those who live in the most delicate atmosphere, whose conversation is the most brilliant or their culture the most extensive, but those who have had the power, ceasing suddenly to live only for themselves, to transform their personality into a sort of mirror, in such a way that their life, however mediocre it may be socially and even, in a sense, intellectually, is reflected by it, genius consisting in reflecting power and not int he intrinsic quality of the scene reflected.

The French say you get hungry when you__e eating, and I get inspired when I__ working. It__ my engine

The French cook we open tins.

Que les poètes morts laissent la place aux autres. Et nous pourrions tout de même voir que c'est notre vénération devant ce qui a été déj_ fait, si beau et si valable que ce soit, qui nous pétrifie, qui nous stabilise et nous empêche de prendre contact avec la force qui est dessous, que l'on appelle l'énergie pensante, la force vitale, le déterminisme des échanges, les menstrues de la lune ou tout ce qu'on voudra.

Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city__ most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors.In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of __ohemian Paris,_ where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets_ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris__he influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology__nd the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.

Reticence was clearly a national characteristic, even if the other person spoke French.

It__ not an ordinary cash wash, Jake,_ Jean smiled. ____st très spécial... et il a un secret!___ understood special and secret,_ Jake said. __hat__ about it.

Birds are sensitive to mispronunciation, even more sensitive than the French.

Father Hobbe, his cassock skirts hitched up to his waist, was fighting with a quarterstaff, ramming the pole into French faces. __n the name of the Father,_ he shouted, and a Frenchman reeled back with a pulped eye, __nd of the Son,_ Father Hobbe snarled as he broke a man__ nose, __nd of the Holy Ghost!

(Regarding the Roosevelt Tram along Queensboro Bridge):"They had it renovated by the French. French cars. French cables. Cables that surrender! Would you ride in a tram that surrenders? I sure as hell wouldn't!

This theory [the oxygen theory] is not as I have heard it described, that of the French chemists, it is mine (elle est la mienne); it is a property which I claim from my contemporaries and from posterity.

Les rêves sont seuls les réalités de la vie.

If I__ a monster, mademoiselle, it__ because man__ cruelty has made me so.

Haleine contre haleine, échauffe-moi la vie,Mille et mille baisers donne-moi je te prie,Amour veut tout sans nombre, amour n__ point de loiTranslated: Breath against breath warms my life.A thousand kisses give me I pray thee.Love says it all without number,love knows no law.

I have seafoam in my veins, I understand the language of waves.

When Hitler marched across the RhineTo take the land of France,La dame de fer decided,__et__ make the tyrant dance.__et him take the land and city,The hills and every flower,One thing he will never have,The elegant Eiffel Tower.The French cut the cables,The elevators stood still,__f he wants to reach the top,Let him walk it, if he will.__he invaders hung a swastikaThe largest ever seen.But a fresh breeze blewAnd away it flew,Never more to be seen.They hung up a second mark,Smaller than the first,But a patriot climbedWith a thought in mind:__ever your duty shirk.__p the iron ladyHe stealthily made his way,Hanging the bright tricolour,He heroically saved the day.Then, for some strange reason,A mystery to this day,Hitler never climbed the tower,On the ground he had to stay.At last he ordered she be razedDown to a twisted pile.A futile attack, for still she standsBeaming her metallic smile.

Un soir qu'ils étaient couchés l'un près de l'autre, comme elle lui demandait d'inventer un poème qui commencerait par je connais un beau pays, il s'exécuta sur-le-champ. Je connais un beau pays Il est de l'or et d'églantine Tout le monde s'y sourit Ah quelle aventure fine Les tigres y sont poltrons Les agneaux ont fière mine _ tous les vieux vagabonds Ariane donne des tartines. Alors, elle lui baisa le la main, et il eut honte de cette admiration.

This medical view of an ideal male who was insulated from pathogens was inextricably bound up with a parallel discourse about the maintenance of strong ego boundaries, a psychic investment in one__ bodily peripheries that effected a gradual closing (and, one might say, a closing off) of the male body, at once from the outer world of dangerous stimuli and from the inner world of threatening passions. Without a doubt, as Norbert Elias has shown, in the western world both men and women experienced a shift in their sense of personal boundaries during the early modern era where, amid changing social circumstances, rising thresholds of repugnance and shame were manifested among the upper-classes as a growing aversion to their own bodily functions and to the bodies of others. The changes wrought by new developments in table manners and etiquette were extended by the introduction of hygienic practices in the eighteenth and nineteenth centuries that endeavored to maximise the order and cleanliness of the social body while futher compartmentalising the bourgeois self as a discrete bodily unit.