Adieu, mon cher vieux. Relis et rebûche ton conte. Laisse-le reposer et reprends-le, les livres ne se font pas comme les enfants, mais comme les pyramides, avec un dessin prémédité, et en apportant des grands blocs l´un par-dessus l´autre, ? force de reins, de temps et de sueur, et ça ne sert ? rien! et ça reste dans le désert! mais en le dominant prodigieusement. Les chacals pissent au bas et les bourgeois montent dessus, etc.; continue la comparaison.
For , literally translated, 'Since it must be so,' of all the good-bys I have heard is the most beautiful. Unlike the and , it does not try to cheat itself by any bravado 'Till we meet again,' any sedative to postpone the pain of separation. It does not evade the issue like the sturdy blinking . is a father's . It is - 'Go out in the world and do well, my son.' It is encouragement and admonition. It is hope and faith. But it passes over the significance of the moment; of parting it says nothing. It hides its emotion. It says too little. While ('God be with you') and say too much. They try to bridge the distance, almost to deny it. is a prayer, a ringing cry. 'You must not go - I cannot bear to have you go! But you shall not go alone, unwatched. God will be with you. God's hand will over you' and even - underneath, hidden, but it is there, incorrigible - 'I will be with you; I will watch you - always.' It is a mother's . But says neither too much nor too little. It is a simple acceptance of fact. All understanding of life lies in its limits. All emotion, smoldering, is banked up behind it. But it says nothing. It is really the unspoken good-by, the pressure of a hand, 'Sayonara.
...As the evening wore on (the supper did not end until seven in the morning), the public were admitted to watch the festivities from the balustrade, and were offered biscuits and refreshments to keep them going through the night....One of the lawyers was so upset by the evening that he got up to leave, proclaiming: 'They will send you to the madhouse and strike you from the list of members of the Bar.' Grimod responded by locking the doors to the apartment and preventing any further guests from leaving. Coffee and liquers were taken in an adjoining room lit by 130 candles while the guests were entertained by a magic-lantern show and some experiments with electricity performed by the Italian physicist Castanio. M Rival tells us that many of the guests fell asleep.
The English language is like London: proudly barbaric yet deeply civilised, too, common yet royal, vulgar yet processional, sacred yet profane. Each sentence we produce, whether we know it or not, is a mongrel mouthful of Chaucerian, Shakespearean, Miltonic, Johnsonian, Dickensian and American. Military, naval, legal, corporate, criminal, jazz, rap and ghetto discourses are mingled at every turn. The French language, like Paris, has attempted, through its Academy, to retain its purity, to fight the advancing tides of Franglais and international prefabrication. English, by comparison, is a shameless whore.