Italian Recordings

Ciao.
io.
Imparare
Io sto imparando. Imparo.
Tedesco.
Sto imparando Tedesco.
Io sono.
Paulo.
Ciao io sono.
Ciao Paolo.
Io sono di.
Germania.
Io vengo da Germania.
Italia.
Ciao io sono Marco.
Io vengo da Italia.
E.
Io vengo da Italia e Sto imparando Tedesco.
Napoli.
Io sono Maria.
Milano.
Roma.
Io sono Andrea.
E vengo da/sono di Milano.
Io sono Maria e vengo da/sono di Milano.
Io sono Andrea e vengo da/sono di Roma.
Andare.
Va.
Come.
Come va?
Come stai?
Ciao Paolo, tu come va?
Lei come va?
Bene.
Grazie.
Bene grazie.
Ciao, bene grazie.
E tu?
E lei?
Io sono Paul e sto bene.
Io sono Paul e mi vasto bene, e tu?
Si.
Si, sto bene.
Si sto bene grazie.
Io sono Paul e sto bene grazie, e tu?
Si sto bene, e vengo da/sono di Italia.
Io voglio.
Io voglio imparare.
Ciao Maria.
Sto bene e.
Sto bene e io voglio.
Sto bene e io voglio imparare.
Come va Maria?
Come va Maria?
Io sono Maria e sto bene.
Io voglio andare.
Io sono Maria e Io voglio andare.
Io sono Maria e Io voglio imparare.
Io sono Maria e Io voglio imparare Tedesco.

prendere in sposa
prendere in isposa
centro di prima accoglienza

tutela del patrimonio artistico
nozze d'oro
incisore in rame

con il consenso di entrambe le parti
ottoni gravi
il 20 per cento di sconto

pregare Dio
unire l'utile al dilettevole
non avere uno straccio da mettersi

piccione viaggiatore
tutela del consumatore
rimanere in vigore

entrare in vigore
a danno di minoranze
in carica

strappare uno sconto
potere essere paragonato
a meta

celebrare le nozze
filo di rame
con sentimento

incisore in legno
il campanello
verbo ausiliare

Tu se' omai al purgatorio giunto:
vedi là il balzo che 'l chiude dintorno:
vedi l'entrata là 've par disgiunto.

Dante Alighieri. La Divina Commedia.
Purgatorio. Canto IX, 49-51
***
Come in lo specchio sol, non altrimenti
La doppia fiera dentro vi raggiava,
Or con altri, or con altri reggimenti.

Dante Alighieri. La Divina Commedia.
Purgatorio. Canto XXXI, 121-123

Salve
salveh
Buonasera
bwonaserah
Buonanotte
bwonanotteh
Arrivederci
arreevederchee
Ciao/ciao!
chow
Piacere
pyachereh
Come sta?
komeh stah
Bene, grazie
beneh gratsye
Prego
pregoh
Mi chiamo...
mee kyamoh
Come si chiama?
komeh see kyamah
Lui/lei come si chiama?
looee/lay komeh see kyamah
Questo/a è...
kwestoh/ah eh
Lieto/a di conoscerla
lyetoh/ah dee konosherlah
A domani
ah domanee
A presto
ah prestoh

Sì/no
see/noh
Per favore
pehr favoreh
(Molte) grazie
(molteh) gratsye
Prego
pregoh
OK/bene
okay/beneh
Scusi?
skoozee
Mi scusi
mee skoozee
Mi dispiace
mee deespyacheh
Non so
non soh
Non capisco
non kapeeskoh
Può ripetere?
pwo reepetereh
Non parlo italiano
non parloh eetalyanoh
Parla inglese?
parlah eengleseh
Come si dice in italiano...?
komeh see deeche een eetalyanoh
Cos’è quello/a?
kozeh kwelloh/ah
Come si chiama?
komeh see kyamah
Mi può dire...
mee pwoh deereh

Vengo da...
vengoh dah
Sono...
sonoh
...inglese
eengleseh
...americano/a
amereekanoh/ah
...canadese
kanadezeh
...australiano/a
owstralyanoh/ah
...celibe/nubile
cheleebeh/noobeeleh
...sposato/a
sposatoh/ah
...divorziato/a
deevortsyatoh/ah
Ho...anni
oh...annee
Ho...
oh
...un fidanzato
oon feedantsatoh
...una fidanzata
oonah feedantsatah

Vive qui?
veeveh kwee
Dove vive?
doveh veeveh
Sono qui...
sonoh kwee
...in vacanza
een vakantsah
...per lavoro
pehr lavoroh
Sono uno/a studente/ studentessa
sonoh oonoh/ah stoodente/stoodentessah
Lavoro a...
lavoroh ah
Sono pensionato/a
sonoh penzyonatoh/ah
Posso avere...
possoh avereh
...il suo numero di telefono?
eel soowoh noomeroh dee telefonoh
...il suo indirizzo e-mail?
eel soowoh eendeereedzo emayl
Non importa
non eemportah
Cin cin
cheen cheen
Le dispiace se fumo?
leh deespyache seh foomoh
Non bevo/fumo
non bevoh/foomoh
Sta bene?
stah beneh

Mi piace/adoro...
mee pyacheh/adoroh
Non mi piace...
non mee pyacheh
Detesto...
detestoh
Mi piace abbastanza/ molto...
mee pyacheh abbastantsa/ moltoh
Non le piace?
non leh pyacheh
Vorrei...
vorray
Il mio preferito è...
eel meeoh prefereetoh eh
Preferisco...
prefereeskoh
Penso che sia fantastico
penzoh keh sya fantasteeko
È delizioso/a
eh deleetsyosoh/ah
Cosa vorrebbe fare?
kozah vorrebbeh fareh
Non mi dispiace
non mee deespyacheh

Che giorno è oggi?
keh jornoh eh ojee
domenica
domeneekah
lunedì
loonedee
martedì
martedee
mercoledì
merkoledee
giovedì
jovedee
venerdì
venerdee
sabato
sabatoh
oggi
ojee
domani
domanee
ieri
yeree
tra...giorni
trah...jornee

gennaio
jenayo
febbraio
febrayo
marzo
martso
aprile
apreeleh
maggio
majjo
giugno
joonyo
luglio
loolyo
agosto
agostoh
settembre
setembreh
ottobre
otobreh
novembre
novembreh
dicembre
deechembreh

Che ore sono?
keh oreh sonoh
Sono le nove
sonoh leh noveh
...del mattino
del matteenoh
...del pomeriggio
del pomereedjoh
...della sera
dellah serah

È mezzogiorno/mezzanotte
eh medzojornoh/ medzanotteh
il secondo
eel sekondoh
il minuto
eel meenootoh
l’ora
lorah
un quarto d’ora
oon kwartoh dorah
mezz’ora
medzorah
tre quarti d’ora
tray kwartee dorah
tardi
tardee
presto/presto
prestoh
A che ora inizia?
ah keh orah eeneetsya
A che ora finisce?
ah keh orah feeneesheh
Quanto tempo durerà?
kwantoh tempoh doorerah

Quali sono le previsioni?
kwalee sonoh leh preveesyonee
Che tempo fa?
ke tempoh fah
È...
eh
...buono
bwonoh
...cattivo
kateevoh
...mite
meeteh
...caldo
kaldoh
...freddo
freddoh
Qual è la temperatura?
kwaleh lah temperatoorah
Ci sono...gradi
chee sonoh...gradee
È una bellissima giornata
eh oonah beleesseemah jornatah
Il tempo sta cambiando
eel tempoh stah kambyandoh
Farà più freddo/caldo?
farah pew freddoh/kaldoh
La temperatura sta scendendo
lah temperatoorah stah shendendoh

Would you like me to go to America with you? It would only be natural for the gentlemen to defray my travelling expenses. I could be indifferent to a good deal, but not to all things! And among the things about which I am not indifferent is, above all, your health, which you must recover completely. Now I believe that you ought to seek more refreshment than you do from Nature and from artists. And I would prefer to see you independent of Goupil's and established on your own account with the Impressionists, rather than that you should adopt this alternative and be constantly travelling with valuable pictures belonging to the gentlemen in question. When our uncle was the partner, he made them pay him very well for many years; but see what it cost him! Yes, yes, your lungs are good, but ... just try a year at looking after yourself properly, and then you will realize the danger of your present life. You now have ten years of life in Paris behind you. That is more than enough. To this you will probably reply that Détaille, for instance, has perhaps thirty years of Paris life behind him, and that he is as straight as a die. Very well, do as he has done, if your constitution is anything like his; for in our family we are very tough. All I should like to say may be summed up as follows: If these gentlemen want you to do their dirty work for them, and at such a great distance too, then either demand a high price for the work, or else decline it and devote yourself entirely to the Impressionists. For even if you do less business with their work and turn over less money, you will at least be able to spend more of your time with nature. My health is decidedly improving and my digestion has been getting much better during this last month. I often suffer from unaccountable and involuntary fits of excitement or of apathy; but they pass away when my nerves grow calm again.

I constantly reproach myself with the fact that my painting does not bring in as much as it costs, and yet one must work. You must, however, remember that if ever it should become necessary for me to go into business, in order that your lot may be lighter, I should do so without regret.

One of these days we must certainly try to find out how the case stands with this Mr. T. In the interests of our friends he ought really to say something definite. It seems to me that we are all to some extent bound to see that we are not looked upon as dead. It is not our cause alone that is at stake, but the common cause of all Impressionists. Consequently, as he has been appealed to by us, he owes us a reply. You will agree with me that we cannot make any progress before we receive a categorical statement of his intentions. If we consider that a permanent exhibition of impressionist work in London and Marseilles is a desirable thing it is obvious that we shall strain every nerve to bring it about. Now the question is, will T. come in with us or not?... And has he reckoned, as we have done, on a possible depression of the market in pictures which now stand at high prices, a depression which, in my opinion, will very probably occur the moment the prices of impressionist pictures begin to rise. You must perceive that the purchasers of expensive pictures will only achieve their own ruin by opposing the triumphal progress of a school which, owing to its energy and perseverance, has for years shown itself worthy of a Millet or a Daubigny, etc.

I congratulate you heartily on your letter from T. I think it entirely satisfactory. I am convinced that his silence concerning me was not intended as a slight. Besides, he must have taken it for granted that you would let me read his reply.

Moreover, it is much more practical for him to write to you; and as for me, you will see that, provided he does not think too poorly of my work, he will write to me soon enough when he has seen it. I can only repeat that I am more pleased about his simple and kindly letter than I can tell you. You will have noticed that he says he wants to purchase a good Monticelli for his own collection. What do you say to telling him that in our collection we possess a picture of a bunch of flowers which is more artistic and more beautiful than a bouquet by Diaz; that Monticelli often painted a bouquet of flowers, in order to be able to unite the whole scale of his richest and most harmonious colours in one picture, and that one would need to go back to Delacroix to find a similar wealth and play of colours; that-and I am now thinking of the picture which is at the Delarbeyrettes-we know of another bouquet picture, excellent in quality and moderate in price, which we consider, in any case, far more valuable than his figure pictures, which are to be found for sale at every corner, and which belong to the period when Monticelli's talent was declining. I hope you are sending him G's lovely seascape. Heavens! how glad I am that T. has answered in this way!

I have just painted a group of blossoming apricot trees in a small fresh-green orchard. I really had a good deal of trouble with the picture of the sunset, the figures and the bridge, about which I wrote to Bernard. The bad weather prevented me from finishing the picture on the spot, and when I tried to finish it at home I completely spoilt the study. I immediately started painting the same subject again on another canvas; but the weather had changed completely, and all the tones were grey.

Many thanks for all the steps you have taken with the "Indépendents," but-although it does not matter at all this time-in future please print my name in the catalogue just as I sign it on my pictures, i.e., Vincent, and not van Gogh; and this for the simple reason that in this country no one can pronounce our surname. Enclosed I return you T.'s and R.'s letters; perhaps it would be interesting to keep the correspondence of the artists for some future time. It would not be a bad plan to include B.'s small head of the Brittany girl in your next parcel. One ought to show that all Impressionists are good and that their work shows versatility.

There is a porch here-that of St. Trophime-which I am beginning to think extremely beautiful. It is, however, so cruel, so monstrous, and so like a terrifying and grotesque spectre of dreamland, that, beautiful monument though it is, and great as is its style, it seems to me to be part of another world, to which I am just as pleased not to belong as I am not to have lived in the glorious world of Nero.

Shall I admit the truth, and add that the Zouaves, the houses of ill-fame, the charming little girls of Arles who go to their confirmation, the priests in their surplices, in which they look like dangerous antediluvian animals,{FF} and the drinkers of absinthe also seem to me like creatures from another world? All this does not mean that I should feel more at my ease in an artistic world, but simply that I prefer to laugh about it than to feel isolated; because I have the idea that I should be sad if I could not look at everything in a humorous light.

In the evenings I have company; for the young Danish painter who is here is a very nice fellow. His pictures are dry, correct, and sober; but in my opinion this is not a serious fault, provided that the artist be young and intelligent. He began by studying medicine; knows Zola's, Goncourt's, and Guy de Maupassant's works, and has enough money to lead a pleasant life. In addition to this he is animated by the earnest desire one day to do better work than he is now doing. I believe he would do well to postpone his return to his Fatherland for a year, or to return here after only a short visit to his home.

I painted my last three studies with the help of a view-finder divided into squares{EE}, which, as you know, I often use. I attach some importance to it, because I do not think it unlikely that, sooner or later, more artists will make use of it, just as the old German, Italian, and, I believe, the Flemish painters did. The modern way of using it may differ slightly from the old way; but is it not exactly the same with oil-painting? To-day absolutely different effects are aimed at from those which were sought by J. and H. van Eyck, the inventors of technique. This is to show you that I hope always to work independently and for myself alone. I believe in the absolute necessity of a new art of colour and drawing, as also of the whole of artistic life. And if we work with this strong faith, we may hope that it will not prove to be an illusion.

But what are we hearing from T.? Nothing at all? If I were you I would write him a few short lines, couched in sober language, in order to express your surprise at not having received an answer from him. I say this more particularly for you; for even if he does not reply to me, he must to you. And you must press him to do so, otherwise you would lose your prestige, and this excellent opportunity ought really to be seized.... What you must particularly avoid is to allow yourself to be treated like a dead man or a pariah.

I have received a few lines from G., who complains about the bad weather. He is still unwell, and says that of all the vicissitudes of life, none is more harassing to him than straits for money. And yet he feels that he is to be cursed with this condition for ever.

We have had rain and wind every day of late. I have been working at home upon the study of which I made a sketch in my last letter to Bernard. I have tried to make the colours like that of stained glass windows, and the drawing direct and firm.

I am just reading Guy de Maupassant's "Pierre' et Jean." It is very fine. Have you read the preface to it, in which he declares the artist free to exaggerate and to create a more beautiful, more simple, and more comforting life in the novel, and explaining what Flaubert wished to express with the words, "talent is a long trial of patience," and originality an act of will-power and of most intense observation?

Do you know, dear brother, I feel just as if I were living in Japan. I will say no more. And this notwithstanding the fact that I have not yet seen anything in its accustomed glory. And even if I feel sad about the expenses being so heavy and the pictures not being any good, I do not despair, for I am certain that my long sojourn in the south will be successful. Here I see and learn many new things, and if I am gentle with my body, it will not play me a bad turn. For many reasons I wish to found a home of refuge here, which in case of complete exhaustion might serve the purpose of putting one or two poor Paris cab-horses like yourself and many of our friends among the Impressionists, out to grass.