Legende sentence example

legende
  • trans., 1906), where he comes to the conclusion that "instead of being the sixth rex of Rome, he was originally the rex serous, the priest of the cult of Diana Aricina transferred to the Aventine, the priest of the protecting goddess of fugitive slaves"; C. Pascal, Patti e legende di Roma antica (Florence, 1903); also O.
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  • The opening of this poem furnished, though indirectly, the matter of the Aymerillot of Victor Hugo's Legende des siecles.
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  • His works include: Mes Loisirs (1863); La Voix d'un exile (1867), a satire against the Canadian government; boreales, and Les Oiseaux de neige (1880), crowned by the French academy; La Legende d'un peuple (1887); two historical dramas, Papineau (1880) and Felix Poutre (1880); La Noel au Canada (1900), and several prose works and translations.
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  • Rauschen, Die Legende Karls des Grossen im liten and 12ten Jahrhundert (Leipzig, 1890); Kristoffer Nyrop, Den oldfranske Heldedigtning (Copenhagen, 1883; Ital.
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  • Muntz, La Legende de Charlemagne dans l'art du moyen age (Paris, 1885); and for the German legend, vol.
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  • Lichtenberger, Le Poeme et la legende des Nibelungen (Paris, 1891); B.
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  • trans., 1906), where the story is connected with the ceremonies performed in honour of Jupiter Tigillus and Juno Sororia; C. Pascal, Fatti e legende di Roma antica (Florence, 1903); 0.
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  • 1896); Edmond Bire, La Legende des Girondins (Paris, 1881, new ed.
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  • Kuntze, "Die Legende von der guten Tochter," in Jahrbiicher fitr das klassische Altertum (1904), xiii.
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  • In 1887 La Legende D'Un People Became The Acknowledged Epic Of A Race.
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  • Tell (Innsbruck, 1861); Albert Rilliet, Les Origines de la Confe'deration Suisse, histoire et legende (Geneva, 2nd edition, 1869); and S.
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  • 265 &c.; Nordmeyer, Der Tod Neros in der Legende, a Festschrift of the Gymnasium of l'vloos.
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  • de Goeje, "De legende der Zevenslapers van Efeze," Versl.
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  • Abel, Die Legende vom heiligen Johann von Nepomuk (1855); and particularly vol.
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  • Vocal Music. - Oratorios: " Die Legende von der Heiligen Elisabeth," " Christus," " Stanislaus " (unfinished).
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  • His volumes include Cueille d'avril (1885); Les Cygnes (1887; new series, 1892); La Chevauchee d'Yeldis (1893); Swanhilde, a dramatic poem (1894); Laus Veneris (1895), a volume of translations from Swinburne; Poemes et Poesies (1895), a collection containing much of his earlier work; Phocas le jardinier (1898); and La Legende ailee de Wieland le Forgeron (1899), a dramatic poem.
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  • Hild, La Legende d'Enee avant Vergile (1883); F.
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  • Boissier, "La Legende d'Enee" in Revue des Deux Mondes, Sept.
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  • In 1526, however, Charles de Bordigne, in a satiric work of no great merit, entitled la Legende de Pierre Faifeu, has the name Gargantua with an allusion, and in 1532 (if not earlier) there appeared at Lyons les Grandes et inestimables chroniques du grand et enorme grant Gargantua.
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  • Sinemus, Die Legende vom h.
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  • Schmidt in Herzog-Hauck, Realencyklopadie; Lipsius, Die Edessenische Abgarsage kritisch untersucht (1880); Matthes, Die Edessenische Abgarsage auf ihre Fortbildung untersucht (1882); Tixeront, Les Origines de l'eglise d'Edesse et la legende d'A.
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  • Cathelineau (1882); "La Legende de Cathelineau" in the review La Revolution francaise, vol.
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  • In Legende (1871) and Osta.Fii noctrii (1877) he strikes the patriotic note.
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  • Thus also the popular songs of Rumania, the " doine," the " hora," the " cantece," " colinde," " legende," i.e.
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  • Three years later again, in 1859, Victor Hugo gave to the world the first instalment of the greatest book published in the 19th century, La Legende des siecles.
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  • After yet another three years' space the author of La Legende des siecles reappeared as the author of Les Miserables, the greatest epic and dramatic work of fiction ever created or conceived: the epic of a soul transfigured and redeemed, purified by heroism and glorified through suffering; the tragedy and the comedy of life at its darkest and its brightest, of humanity at its best and at its worst.
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  • In 1877 appeared the second series of La Legende des siecles; and in the same year the author of that colossal work, treating no less of superhuman than of human things, gave us the loveliest and most various book of song on the loveliest and simplest of subjects ever given to man, L' Art d'être grandpere.
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  • Tixeront, Les Origines de l'eglise d'Edesse et la legende d'Abgar (1888); R.
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  • Constans, La Legende d'Odipe dans l'antiquite, au moyen age, et dans les temps modernes (1881); D.
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  • Diederichs, "Russische Verwandte der Legende von Gregor auf dem Stein and der Sage von Judas Ischariot," in Russische Revue (1880); S.
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  • Paris, "La Legende du mari aux deux femmes," in La Poesie du moyen age (2nd series, Paris, 1895); and A.
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  • Albers, Konig Dagobert in Gesch., Legende, and Sage (2nd ed., Kaiserslautern, 1884) E.
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  • Eugene Demolder (b.1862) also created a mythical city as a setting for his prose conies in the Legende d'Yperdamme (1897).
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  • Gorres, " Der Ritter St Georg in der Geschichte, Legende and Kunst " (Zeitschrift far wissenschaftliche Theologie, xxx., 1887, Heft i.); E.
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  • Pocquet, Le Duc d'Aiguillon et la Chalotais (Paris, 1900-1902); Anatole le Braz, Vieilles Histoires du pays breton (1897), and La Legende de la mort (Paris, 1902); Ernest Lavisse, Histoire de France, vol.
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  • In 1877 appeared the second series of La Legende des siecles; and in the same year the author of that colossal work, treating no less of superhuman than of human things, gave us the loveliest and most various book of song on the loveliest and simplest of subjects ever given to man, L' Art d'être grandpere.
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  • Next year the great tragic poem of Torquemada came forth to bear witness that the hand which wrote Ruy Blas had lost nothing of its godlike power and its matchless cunning, if the author of Le Roi s'amuse had ceased to care much about coherence of construction from the theatrical point of view as compared with the perfection of a tragedy designed for the devotion of students not unworthy or incapable of the study; that his command of pity and terror, his powers of intuition and invention, had never been more absolute and more sublime; and that his infinite and illimitable charity of imagination could transfigure even the most monstrous historic representative of Christian or Catholic diabolatry into the likeness of a terribly benevolent and a tragically magnificent monomaniac. Two years later Victor Hugo published the third and concluding series of La Legende des siecles.
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