By Martine Piveteau et Mick Fouriscot
Martine Piveteau discover les siècles passés et en ramène une dentelle prestigieuse : le aspect de Paris. Cette dentelle parisienne, appréciée de nos reines espagnoles et des favorites, connue dès le XVIIe siècle, sest transformée, au cours des ans en dentelle de Chantilly. Celle-ci a european une renommée mondiale et a été copiée dans le monde entier. Le aspect de Paris, toujours en soie noire, est réalisé en utilisant los angeles procedure des fils keeps avec sertissage des motifs et surtout un fond caractéristique, le fond trenne. Aujourdhui, le element de Paris peut se confectionner avec des fils blancs ou en couleur pour lassortir aux tendances colorées de los angeles mode. Les dentellières auront plaisir à décliner cette dentelles en volants, entre-deux, functions ou en napperons carrés, rectangles ou ronds.
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But let us pull the tail out of the mouth of this serpent. Eternity is not a process of eternal self-inglutination.... Work is, simply, the activity necessary for the production of a sufficient supply of food and shelter: nothing more holy than that. It is the producing of the means of self-preservation. Therefore it is obvious that it is not the be-all and the end-all of existence. We work to provide means of subsistence, and when we have made provision, we proceed to live. '';11 once that is achieved, progress may take its naturalor unnaturalcourse.
The early printed version of this poem in Love Poems and Others (1913) is Blakean only in its expression of sacred awe before the mystery of creation. " Who shook thy roundness in his finger's cup? Who sunk his hands in firmness down his sides And drew the circle of his grasp, O man, Along thy limbs delighted as a bride's? The imitation is a failure, as F. B. "13 Lawrence's debt to Blake as a poet is not to be measured by such relatively trivial similarities and parallels between individual poems, for he owed little to Blake in the matter of technique.
H. Lawrence and Tradition explores the very roots of Lawrence's art, for tradition is the cultural equivalent of the individual consciousness. This study examines Lawrence's lively intellectual response to writers who showed him new directions and gave him a sense of freedom. It reveals where he comes from and where he is going, how he fulfills the implications and completes the potential of his Romantic and Victorian forebears, and how, by rewriting the works of others, he makes them entirely his own.