gri_2003_m_46_b01_f10_016
- Max. dissimilarity: 0.031
- Mean dissimilarity: 0.019
- Image votes: 0.0
Transcribers
- 65308138 - bettyworm
- 65309344 - not-logged-in-8101775efe34c42067a9
- 65312541 - philippe_bellavoine
- WINNER - 65313502 - not-logged-in-64d0ed118b8dc40ad3f1
- 65332604 - Pastor_Ruth
65308138 - bettyworm
5th November.I am afraid that you are suffering a
conflict. It was inevitable, alas.
I am afraid many things in the next
two months will point against me but I
do not doubt you. It cannot be easy,
my darling, but do not torment yourself.
I love you intensely and continually --
and not just now and again. I wish I
could reduce your suffering but this I
can only do when you leave Michael. Ab-
sence is not a danger I much fear because
I know you love me enough but it is a
strain. I feel it too, though in a dif-
ferent way. I am happy when you respond
with pleasure to my poems - for then I
am satisfied both as lover and poet.
I long for our roses. Oh, my dearest,
you are painting for me, the Rye picture
and, soon, Fairlight. These are the
witnesses of love, instinctive, on the
side of life, combating separation. We
must live so that creative energy does
not have to waste itself in overcoming
frustrations.
You say you 'forget everything now'
but in the next breath suggest a train of
thought leading back to Venice which I
had neglected. I shall put that into
my conversation piece chapter you may be
sure. When you put forward a stimulat-
ing idea like that (Palma Vecchio) you
65309344 - not-logged-in-8101775efe34c42067a9
-3-5th November.
I am afraid that you ^are suffering a conflict. It was inevitable, alas. I am afraid that many things in the next two months will point against me but I do not doubt you. It cannot be easy, my darling, but do not torment yourself. I love you intensely and continually - and not just now and again. I wish I could reduce your suffering but this I can only do when you leave Michael. Ab-sence is not a danger I much fear because I know you love me enough but it is a strain. I feel it too, though in a dif-ferent way. I am happy when you respond with pleasure to my poems - for then I am satisfied both as a lover and poet. I long for your roses. Oh, my dearest, you are painting for me, the Rye picture and, soon, Fairlight. These are the witnesses of love, instinctive, on the side of life, combating separation. We must live so that creative energy does not have to waste itself in overcoming frustrations.
You say you 'forget everything now' but in the next breath suggest a train of thought leading back to Venice which I had neglected. I shall put that into my conversation piece chapter you may be sure. When you put forward a stimulat-ing idea like that (Palma Vecchio) you
65312541 - philippe_bellavoine
-3-5th November.
I am afraid that you are suffering a conflict. It was inevitable, alas. I am afraid many things in the next two months will point against me but I do not doubt you. It cannot be easy, my darling, but do not torment yourself. I love you intensely and continually - and not just now and again. I wish I could reduce your suffering but this I can only do when you leave Michael. Absence is not a danger I must fear because I know you love me enough but it is a strain. I feel it too, though in a different way. I am happy when you respond with pleasure to my poems - for then I am satisfied both as lover and poet. I long for your roses. Oh, my dearest, you are painting for me, the Rye picture and, soon, Fairlight. These are the witnesses of love, instinctive, on the side of life, combating separation. We must live so that creative energy does not have to waste itself in overcoming frustrations.
You say you 'forget everything now' but in the next breath suggest a train of thought leading back to Venice which I had neglected. I shall put that into my conversation piece chapter you may be sure. When you put forward a stimulating idea like that (Palma Vecchio) you
WINNER - 65313502 - not-logged-in-64d0ed118b8dc40ad3f1
-3-5th November.
I am afraid that you are suffering a conflict. It was inevitable, alas. I am afraid many things in the next two months will point against me but I do not doubt you. It cannot be easy, my darling, but do not torment yourself.
I love you intensely and continually - and not just now and again. I wish I could reduce your suffering but this I can only do when you leave Michael. Absence is not a danger I much fear because I know you love me enough but it is a strain. I feel it too, though in a different way. I am happy when you respond with pleasure to my poems - for then I am satisfied both as lover and poet.
I long for your roses. Oh, my dearest, you are painting for me, the Rye picture and, soon, Fairlight. These are the witnesses of love, instinctive, on the side of life, combating separation. We must live so that creative energy does not have to waste itself in overcoming frustrations.
You say you 'forget everything now ' but in the next breath suggest a train of thought leading back to Venice which I had neglected. I shall put that into my conversation piece chapter you may be sure. When you put forward a stimulating idea like that (Palma Vecchio) you
65332604 - Pastor_Ruth
-3-5th November.
I am afraid that you are suffering a conflict. It was inevitable, alas. I am afraid many things in the next two months will point against me but I do not doubt you. It cannot be easy, my darling, but do not torment yourself. I love you intensely and continually - and not just now and again. I wish I could reduce your suffering but this I can only do when you leave Michael. Ab-sence is not a danger I much fear because I know you love me enough but it is a strain. I feel it too, though in a different way. I am happy when you respond with pleasure to my poems - for then I am satisfied both as lover and poet. I long for your roses. Oh, my dearest, you are painting for me, the Rye picture and, soon, Fairlight. These are the witnesses of love, instinctive, on the side of life, combating separation. We must live so that creative energy does not have to waste itself in overcoming frustrations.
You say you 'forget everything now' but in the next breath suggest a train of thought leading back to Venice which I have neglected. I shall put that into my conversation piece chapter you may be sure. When you put forward a stimulat-ing idea like that (Palma Vecchio) you