Europe — the land of high culture, high fashion, delicious food and centuries-spanning history. What’s not to love? 

xxx/ellauri103.html on line 184: Let’s start with a tempest-in-a-teacup at Bowdoin College in Brunswick, Maine. Earlier this year, two students, both members of student government, threw a tequila-themed birthday party for a friend. The hosts provided attendees with miniature sombreros, which—the horror— numerous partygoers wore.
xxx/ellauri103.html on line 211: The felony of cultural sticky fingers even extends to exercise: at the University of Ottawa in Canada, a yoga teacher was shamed into suspending her class, “because yoga originally comes from India.” She offered to re-title the course, “Mindful Stretching.” And get this: the purism has also reached the world of food. Supported by no less than Lena Dunham, students at Oberlin College in Ohio have protested “culturally appropriated food” like sushi in their dining hall (lucky cusses— in my day, we never had sushi in our dining hall), whose inauthenticity is “insensitive” to the Japanese.
xxx/ellauri103.html on line 320: Her question was — or could have been — an interesting question: What are fiction writers “allowed” to write, given they will never truly know another person’s experience?
xxx/ellauri103.html on line 329: On and on it went. Rather than focus on the ultimate question around how we can know an experience we have not had, the argument became a tirade. It became about the fact that a white man should be able to write the experience of a young Nigerian woman and if he sells millions and does a “decent” job — in the eyes of a white woman — he should not be questioned or pilloried in any way. It became about mocking those who ask people to seek permission to use their stories. It became a celebration of the unfettered exploitation of the experiences of others, under the guise of fiction. (For more, Yen-Rong, a volunteer at the festival, wrote a summary on her personal blog about it.)
xxx/ellauri113.html on line 376: 5Kuka on määrännyt sen mitat — ja tyydytät nuorten leijonain nälän,
xxx/ellauri113.html on line 377: tottapa sen tiedät — 2 (40) kun ne kyyristyvät luolissansa
xxx/ellauri114.html on line 368: “I have heard the insults of Moab and the taunts of the Ammonites, who insulted my people and made threats against their land. Therefore, as surely as I live,” declares the Lord Almighty, the God of Israel, “surely Moab will become like Sodom, the Ammonites like Gomorrah—a place of weeds and salt pits, a wasteland forever. The remnant of my people will plunder them; the survivors of my nation will inherit their land” (Zeph. 2:8-9).
xxx/ellauri114.html on line 371: My sword has drunk its fill in the heavens; see, it descends in judgment on Edom, the people I have totally destroyed. The sword of the Lord is bathed in blood, it is covered with fat—the blood of lambs and goats, fat from the kidneys of rams. For the Lord has a sacrifice in Bozrah and a great slaughter in the land of Edom. And the wild oxen will fall with them, the bull calves and the great bulls. Their land will be drenched with blood, and the dust will be soaked with fat.
xxx/ellauri114.html on line 682: — Judges 12:5–6 KJV
xxx/ellauri116.html on line 293: As a child, Vargas Llosa was led to believe that his father had died—his mother and her family did not want to explain that his parents had separated. During the government of Peruvian President José Bustamante y Rivero, Vargas Llosa's maternal grandfather obtained a diplomatic post in the northern Peruvian coastal city of Piura and the entire family returned to Peru.
xxx/ellauri120.html on line 68: William James coined the term Cash Value to describe criteria to assess the merit and truth of an assertion or belief. Freud’s work is freighted with immense metaphorical— and literal— cash value.
xxx/ellauri120.html on line 70: Edward Bernays was the nephew of Freud. His mother was Freud’s sister and his father was Freud’s wife’s brother. Born in 1891, and brought to the United States with his family in the first year of his life, Bernays injected his uncle’s insights into the very marrow and bloodstream of American culture, altering its pulse and functioning—along with the rest of the world. He did so using the unique means and methods of American culture to achieve its most valued end: Cash. Life magazine named Bernays one of the 100 most influential Americans of the 20th century.
xxx/ellauri120.html on line 76: Bernays became a highly sought, and extravagantly paid consultant to a number of leading businesses. His many successes include helping the American Tobacco Company to sell cigarettes to women, advertising them as glamorous “torches of freedom”; and aiding the United Fruit Company to sell bananas, and when the newly elected president of Guatemala threatened the business interests of United Fruit, Bernays persuaded the CIA and the US government—through rumors, innuendos, and manipulation of the press about a growing Communist menace—to overthrow the his government.
xxx/ellauri120.html on line 82: This is a worldwide phenomenon. We are a mob. Or mobs. Twittering, tweeting, Facebooking, “liking”, chattering, texting, Instagramming, Photo-shopping, rumoring, instigating, provoking, inciting, lying, messaging, massaging, insisting, imploring; “truths” swirling in clouds blanketing the globe, marketed, managed and mined for profit—political, economic or otherwise.
xxx/ellauri120.html on line 98: One religion or another—
xxx/ellauri120.html on line 100: One fatherland or another—
xxx/ellauri120.html on line 124: Hatred is a master of contrast—between explosions and dead
xxx/ellauri120.html on line 128: its leitmotif—the impeccable executioner
xxx/ellauri120.html on line 136: —Wislawa Szymborska
xxx/ellauri120.html on line 208: Tarkastusvaliokunnan toimittamaan aineistoon sisältyvien eräiden kulujen osalta (stailaus- ja kampaamohankinnat, lentolippuosto, pysäköintikulu, digilehtitilaus, pyörähuollon kulu) tarkastusvirasto on ryhtynyt toimenpiteisiin niiden takaisin perimiseksi tai verotuksen oikaisemiseksi. Takaisin perittäväksi sisältyy stailaus- ja kampaamohankintoja, jotka eivät esimerkiksi ole ajallisesti liittyneet VTV:n vuosikertomuksen kuvauksiin vuosilta 2018—2019, yhteensä 1 122 euroa. Verotuksen oikaisemiseksi pyörähuollon kulu 95 euroa vuodelta 2020 on lisätty pääjohtajan ja myös pyörähuoltoa kyseisenä vuonna käyttäneiden 55 viraston henkilön verotettavaksi tuloksi.
xxx/ellauri121.html on line 304: After graduating in English from the University of Toronto, the young poet— she was by now publishing in Canadian literary magazines—enrolled in graduate school at Radcliffe, the all-female women university at Harvard, in 1961. She was chagrined by the intensely chauvinistic atmosphere: among other things, female students were not allowed access to the university’s modern poetry collection in the Lamont Library. Only men could read all the juicy bits.
xxx/ellauri121.html on line 306: Atwood’s career as a graduate student stretched, with many interruptions, for half a dozen years. During that period she had an affair with Quebec poet D. G. Jones— which Sullivan mentions so obliquely that it is over before the reader realizes it has begun. She had broken it off, as a result of the stresses caused by his workload. She subsequently courted Jim Polk (an American writer she had met at Harvard) and, in January 1967, she decided to marry him "after five years of equivocation". She also worked at odd jobs including market researcher like Fred Waterford, and despite never finishing her PhD, began a university teaching career that would take her to cities across Canada. At 27, she became the youngest person to ever win the Governor General’s Award with her 1967 poetry collection, The Circle Game. Siitä nousi sille aika lailla kusi päähän.
xxx/ellauri121.html on line 308: In the early 70s, Atwood added considerably to her work as a teacher and writer by editing manuscripts for the cutting-edge nationalist publisher The House of Anansi. By then, her marriage to Polk was over (Sullivan is vague about why, offering mainly generalities about the difficulty of staying together in that morally freewheeling era. Fact is, Jim Polk was not enough of a handyman for manly Margaret.) In 1972, Atwood met Gibson, a novelist and cultural activist whose own marriage was crumbling. The two began an affair, meeting at first clandestinely in the basement office of Toronto’s Longhouse Bookshop, but soon living together—for several years on a working farm north of the city.
xxx/ellauri121.html on line 314: The books he wrote were never “hot”, but they were never read, so no harm done. His novels were well crafted but never quite took off — what the French call connerie pure. In 1996, he decided to stop writing novels altogether, and concentrate on childcare and cooking & laughing at Peggy's jokes. Kinda ironic given they didnt ever marry tho. It’s as if he made sure to stick around long enough for her new sequel to The Handmaid’s Tale – The Testaments – to be published. Considerate.
xxx/ellauri121.html on line 336: Atwood has not won the Nobel (this was written 1998), at least not yet. But the petite 58-year-old novelist (Cat’s Eye, Alias Grace) and poet (Power Politics, Morning in the Burned House) has become internationally famous on a scale no Canadian writer of serious literature ever has. She is, in her own words, “one of the few literary writers who has gotten lucky”—which means she is read not just by intellectuals, but by hairdressers, chartered accountants and farmers. Easy reading, straightforward sentiments.
xxx/ellauri121.html on line 340: The Red Shoes—the title is from a 1948 film that affected the young Atwood, about a girl who wants to be both a dancer and a wife, and is punished with death for her ambition.
xxx/ellauri121.html on line 344: Sullivan rightly traces Atwood’s notable self-confidence to those early years, but she also ignores the hints in her own narrative that Atwood’s family, like any other, had its neurotic tics—and that Atwood certainly carried her own share of psychic stress into adulthood. Where else does the buried grief, anger and sense of calamity in her writing come from?
xxx/ellauri121.html on line 378: Having a fetish doesn’t necessarily mean wanting to wear adult diapers or a furry costume. (Turrit on rivoja sexifetishistejä.) You just have to find a normally non-sexual object or action arousing—an association you probably formed in childhood, says Samantha Leigh Allen, professor of sexual fetishism at Emory University. Maybe your mother had platform shoes, ankle shackles, net stockings, cat spectacles, bikini, and a print hat. Maybe she talked like a slut and moaned all the time.
xxx/ellauri121.html on line 420: Memorial Hall, immediately north of Harvard Yard in Cambridge, Massachusetts, is an imposing High Victorian Gothic building honoring Harvard men's sacrifices in defense of the Union during the American Civil War‍—‌"a symbol of Boston's commitment to the Unionist cause and the abolitionist movement in America." Etelän miesten nekrut vapaaxi, jäähän meille tänne koilliseen naisväki panttivangixi.
xxx/ellauri121.html on line 472: Prayerfest is a one-day festival of prayer. In an atmosphere of passionate worship, fervent praying and powerful preaching, unique expressions of the Holy Spirit are displayed that lead to an encounter with God. Over a six-week period, hundreds of people prepare themselves to meet with God at Prayerfest. God responds to the desperate cries and passionate prayers of His people on a first come-first serve basis for a holy visitation—by invading their lives with His power and glory. Here are some ways to help you prepare for this special day:
xxx/ellauri121.html on line 492: Juonipaljastus: A true Christian is called to fight. Yet there are times devout followers of Christ unknowingly allow their warrior instincts to dull. Many of us stand idle while an evil tyrant (Joe Biden) pilfers our finances, snatches our health, filches our marriages, and makes off with all the promises of the kingdom—the really good stuff God intended for His children. Purchase.
xxx/ellauri122.html on line 1083:
xxx/ellauri122.html on line 1200: Lukyanova began rebelling against her father at age 13 — but she describes her style then as more goth. She rebelled against her Siberian-born grandfather and father at 13 by dyeing her hair and wearing all-black. She has always claimed her looks were never intended to attract men.
xxx/ellauri123.html on line 372: Weinreb grew up in Scheveningen, Netherlands, to which his family had moved in 1916, and became notorious for selling a fictitious escape route for Jews from the occupied Netherlands in the Second World War. When his scheme fell apart in 1944, he left his home in Scheveningen and went into hiding in Ede. He was imprisoned for 3½ years after the war for fraud as well as collaboration with the German occupier. In his memoirs, published in 1969 he maintained that his plans were to give Jews hope for survival and that he had assumed that the liberation of the Netherlands would take place before his customers were deported. The debate about his guilt or innocence—called the “Weinreb affair”—was very heated in the Netherlands in the 1970s, involving noted writers like Renate Rubinstein and Willem Frederik Hermans. In an attempt to end this debate, the government asked the Rijksinstituut Oorlogsdocumentatie (Netherlands institute for war documentation) to investigate the matter. in 1976 the institute issued a report (of which a part already was leaked to the press in 1973), which determined that his memoirs were "a collection of lies and fantasies," and that his collaboration had caused 70 deaths. Although his activities did contribute to some Jews' survival, most Jews who fell for Weinreb's swindle were deported and killed.
xxx/ellauri123.html on line 555: Before I left, I tried to fight my nervosity in many ways. I read everything I could get my hands on that seemed relevant to my chosen academic field — a mix of business and engineering. I prepared my courses in advance. I sought reassurance from others that I’d chosen a good school and degree.
xxx/ellauri123.html on line 565: In order to deal with principles, we have rules. “Don’t jump off skyscrapers” is a rule and a good one at that. Unlike principles, however, rules break all the time. Often, it’s us doing the breaking — and often prematurely. I know it would be best for all concerned for me to break the skyscraper rule asap, but I'm going to give it some time. I'm wonderful. I want to fall gently like a snowflake.
xxx/ellauri123.html on line 567: In the ten years since I wrote them down, I have broken every single one of my rules. And yet, I’m still glad I wrote that list. You know why? Because the idea that I wanted to live by some rules — despite not knowing which ones or how or why — was enough.
xxx/ellauri123.html on line 619: Instead of taking shots at others, most people decide to draw up — and lose at — another imagined game: Who’s better? It’s a moot question. We have no idea what anyone’s story is like up to the page on which we meet them.
xxx/ellauri123.html on line 698: Vladimir Nabokov omaksui jo lapsena venäjän, ranskan ja Но как се разиграваше сърцето на клетника, щом сред невинната детска тълпа забележеше детето демон, "enfant charmante et fourbe" — унесен поглед, ярки устни, десет години каторга, ако покажеш, че гледаш.
xxx/ellauri123.html on line 771: "I would say that of all my books Lolita has left me with the most pleasurable afterglow—perhaps because it is the purest of all, the most abstract and carefully contrived. I am probably responsible for the odd fact that people don´t seem to name their daughters Lolita any more. I have heard of young female lapdogs being given that name since 1956, but of no human beings."
xxx/ellauri123.html on line 1021: hit by a truck, and Humbert dies so many little deaths—eroding his heart muscles
xxx/ellauri123.html on line 1022: most pitifully—that in some well-wrought passages we almost catch ourselves
xxx/ellauri123.html on line 1045: Many a true word is spoken in jest, especially about the kinship between eros and thanatos. FUCK! KILL! Puuttuu enää EAT! The two closest glimpses Humbert gives us of his own self-hatred are not without their death wish—made explicit in the closing paragraphs—and their excremental aspects: "I am lanky, big-boned, wooly-chested Humbert Humbert, with thick black eyebrows and a queer accent, and a cesspoolful of rotting monsters behind his slow boyish smile." Two hundred pages later: "The turquoise blue swimming pool some distance behind the lawn was no longer behind that lawn, but within my thorax, and my organs swam in it like excrements in the blue sea water in Nice." And then there's the offhand aside "Since (as the psychotherapist, as well as the rapist, will tell you) the limits and rules of such girlish games are fluid …" in which it takes a moment to notice that "therapist" and "the rapist" are in direct apposition.
xxx/ellauri123.html on line 1051: don't know what is. Arresting, as well as disgusting, to suddenly notice that Lolita (who died giving birth to a stillborn girl, for Christ's sake) would have been 86 this year. … the thought that with patience and luck I might have her produce eventually a nymphet with my blood in her exquisite veins, a Lolita the Second, who would be eight or nine around 1960, when I would still be dans la force d'age; indeed, the telescopy of my mind, or un-mind, was strong enough to distinguish in the remoteness of time a vieillard encore vert—or was it green rot?—bizarre, tender, salivating Dr. Humbert, practicing on supremely lovely Lolita the Third the art of being a granddad.
xxx/ellauri123.html on line 1256: A: First off, being a “pedophile” is not per se sinful. Even today, the Church does not condemn pedophiles, nor does it consider pedophilia in and of itself to be sinful. The grave offense and grave sin occurs when a pedophile — or anyone else — commits child sexual assault (such as fucks them). This distinction is vital, both in general, and in understanding where Dante would have placed child sexual abusers in his version of hell.
xxx/ellauri124.html on line 359: and they just respond with, “cute.” — or, even worse, “thx.” When your normally
xxx/ellauri124.html on line 370: .gifs — or a shoulder to cry on — letting them know you’re there for them can look
xxx/ellauri124.html on line 383: Call on her. Completely passe. Bring a book or your fully-charged phone, or — if you want to go old-school — AirPods to shut her whining off.
xxx/ellauri124.html on line 433: off — so get typing. Send it all in one block of text for bonus rage
xxx/ellauri124.html on line 440: remarkable that I can still write — and even more remarkable that writing is
xxx/ellauri124.html on line 441: actually my job — given how frequently I communicate exclusively in emoji.
xxx/ellauri124.html on line 444: we supposed to know when to use them all? Take the huge variety of hands — what do
xxx/ellauri124.html on line 543: using Android—in other words, if their messages have a green bubble instead of a
xxx/ellauri124.html on line 544: blue bubble—that person will receive the Tapback as a text message. [Pathetic! Wimps!]
xxx/ellauri124.html on line 564: In case you're somehow 15 years behind, emoji are taking over the world. But although there is an obvious benefit to having such a large arsenal of emoji with which to freely share your life with the rest of the world, the choices you have can become overwhelming. For example, what do all the cat emoji mean? Why do we need so many of them? What the heck am I supposed to use them all for? Well, if you're feeling overwhelmed, have no fear — I'm here to help you.
xxx/ellauri124.html on line 579: Kissing Cat Face with Closed Eyes Cats are a selective animal — they don't just
xxx/ellauri125.html on line 105: CHAPTER XXXVIII—CONCLUSION
xxx/ellauri125.html on line 107: Reader, I married him. A quiet wedding we had: he and I, the parson and clerk, were alone present. When we got back from church, I went into the kitchen of the manor-house, where Mary was cooking the dinner and John cleaning the knives, and I said—
xxx/ellauri125.html on line 132: “Sally era morena, praticamente da mesma idade de Lolita, e também filha de mãe viúva e chantageada com uma ameaça de internamento numa escola correcional. Seu sequestro seguiu o mesmo modus operandi que Nabokov desenvolve em seu romance. Weinman encontrou anotações e recortes de jornais sobre o caso nos arquivos do escritor, até mesmo um registro da morte de Sally, em agosto de 1952”, assinala Sérgio Augusto. “Há claras — e, às vezes, diretas — referências ao drama de Sally e a La Salle em ‘Lolita’. No capítulo final, atormentado pela culpa, Humbert-Humbert se compara a La Salle e confessa sua desconfiança de que também possa ser condenado a 35 anos por estupro.”
xxx/ellauri125.html on line 134: O autor do romance, Vladi Nabokov, homem circunspecto, deixa a impressão de que é uma incógnita. Na verdade, não é. Ele escreveu sobre si, em “Fala, Memória” (Alfaguara, 328 páginas, tradução de José Rubens Siqueira), e há a estupenda biografia escrita pelo irlandês Brian Boyd (PhD em literatura pela Universidade de Toronto), publicada em dois volumes, “Vladimir Nabokov — Os Anos Russos” (Anagrama, 626 páginas, tradução de Jordi Beltran) e “Vladimir Nabokov — Os Anos Americanos” (Anagrama, 966 páginas, tradução de Daniel Najmías). Não há tradução brasileira. “Véra. Señora de Nabokov” (Alianza Editorial, 744 páginas, tradução de Miguel Martínez), de Stacy Schiff, é uma magnífica biografia de Véra Nabokov, a mulher do autor de “Fogo Pálido”. Trata-se, por sinal, de uma biografia indireta de Vladimir Nabokov. Ganhou o reputado prêmio Pulitzer.
xxx/ellauri125.html on line 170: Lyon was 15 when the film premiered in June 1962, too young to watch the film. She became an instant celebrity and won a Golden Globe Award for Most Promising Newcomer—Female. She recorded two songs for the film, released on an MGM 45-rpm record. The song "Lolita Ya Ya" (Riddle–Harris) appeared on side A, and "Turn Off the Moon" (Stillman-Harris) appeared on side B.
xxx/ellauri125.html on line 301: The song, which could be called bawdy were it not so lyrically dark, is one of many on West’s sixth solo studio album that reference — and commingle — sex, ethnicity and/or power.
xxx/ellauri125.html on line 309: In addition to the repurposed King quote, West and producers TNGHT sample Nina Simone’s version of “Strange Fruit” without any apparent regard for it as a chronicle of Southern violence. Instead, he harnesses the devastating verses recounting the “strange fruit” hanging from a Southern tree — the dangling body of a lynching victim — in service of a song about gold-digging women, a night on the town taking MDMA and having sex.
xxx/ellauri125.html on line 317: As presented, his intentions are unclear — other than to remind you that, you know, “I am a god!” Duly noted. Maybe now West can start tapping into his benevolent side. After all, he’s going to need it in 15 years when self-aggrandizing young men start objectifying his daughter.
xxx/ellauri125.html on line 428: From the start, critics complained about the ostensible sameness of Roth’s books, their narcissism and narrowness—or, as he himself put it, comparing his own work to his father’s conversation, “Family, family, family, Newark, Newark, Newark, Jew, Jew, Jew.” Over time, he took on vast themes—love, lust, loneliness, marriage, masculinity, ambition, community, solitude, loyalty, betrayal, patriotism, rebellion, piety, disgrace, the body, the imagination, American history, mortality, the relentless mistakes of life—and he did so in a variety of forms: comedy, parody, romance, conventional narrative, postmodernism, autofiction. In each performance of a self, Roth captured the same sound and consciousness. in nearly fifty years of reading him I’ve never been more bored. I got to know Roth in the nineteen-nineties, when I interviewed him for this magazine around the time he published “The Human Stain.” To be in his presence was an exhilarating, though hardly relaxing, experience. He was unnervingly present, a condor on a branch, unblinking, alive to everything: the best detail in your story, the slackest points in your argument. His intelligence was immense, his performances and imitations mildly funny. “He who is loved by his parents is a conquistador,” Roth used to say, and he was adored by his parents, though both could be daunting to the young Philip. Herman Roth sold insurance; Bess ruled the family’s modest house, on Summit Avenue, in a neighborhood of European Jewish immigrants, their children and grandchildren. There was little money, very few books. Roth was not an academic prodigy; his teachers sensed his street intelligence but they were not overawed by his classroom performance. Roth learned to write through imitation. His first published story, “The Day It Snowed,” was so thoroughly Truman Capote that, he later remarked, he made “Capote look like a longshoreman.”
xxx/ellauri125.html on line 459: incestuous affair with his sister — which led to his writer's block — and the fact
xxx/ellauri125.html on line 791: Hole's performance on August 26, 1994, at the Reading Festival—Love's first public performance following Cobain's death—was described by MTV as "by turns macabre, frightening and inspirational". John Peel wrote in The Guardian that Love's disheveled appearance "would have drawn whistles of astonishment in Bedlam", and that her performance "verged on the heroic ... Love steered her band through a set which dared you to pity either her recent history or that of the band ... the band teetered on the edge of chaos, generating a tension which I cannot remember having felt before from any stage." The band performed a series of riotous concerts over the following year, with Love frequently appearing hysterical onstage, flashing crowds, stage diving, and getting into fights with audience members. One journalist reported that at the band's show in Boston in December 1994: "Love interrupted the music and talked about her deceased husband Kurt Cobain, and also broke out into Tourette syndrome-like rants. The music was great, but the raving was vulgar and offensive, and prompted some of the audience to shout back at her."
xxx/ellauri125.html on line 801: "What I really don't like—there are certain girls that like us, or like me, who are really messed up... and they do not need to be—they're very young—and they do not need to be taken and raped, or filmed having enema contests... going out into the audience and picking up fourteen and fifteen-year-old girls who obviously cut themselves, and then having to see them in the morning... it's just uncool."
xxx/ellauri127.html on line 53: "Trees" is frequently included in poetry anthologies and has been set to music several times—including a popular rendition by Oscar Rasbach, performed by singers Nelson Eddy, Robert Merrill, and Paul Robeson.
xxx/ellauri127.html on line 60: However, Kilmer's eldest son, Kenton, declares that the poem does not apply to any one tree—that it could apply equally to any. "Trees" was written in an upstairs bedroom at the family's home in Mahwah, New Jersey, that "looked out down a hill, on our well-wooded lawn". Kenton Kilmer stated that while his father was "widely known for his affection for trees, his affection was certainly not sentimental—the most distinguished feature of Kilmer's property was a colossal woodpile outside his home". The house stood in the middle of a forest and what lawn it possessed was obtained only after Kilmer had spent months of weekend toil in chopping down trees, pulling up stumps, and splitting logs. Kilmer's neighbors had difficulty in believing that a man who could do that could also be a poet.
xxx/ellauri127.html on line 114: Only now, 40 years after his death, are some critics daring to suggest that many of his 18 novels are mediocre at best and that his masterpiece, “Lolita,” is a gruesome celebration of pedophile rape. Moreover the cherubic writer known to us from famous Life magazine photo shoots, jauntily brandishing his butterfly net in the Tetons or the Alps, proves to be a nasty piece of work. Distasteful people can do wonderful work — Pablo Picasso was no walk in the park — but their art doesn’t excuse their obnoxious behavior.
xxx/ellauri127.html on line 116: There are currently five scholarly journals devoted to Nabokov studies. His allusive style and trilingual (English, French, Russian) wordplay are catnip for academics, who endlessly parse challenging texts like “Pale Fire” — a novel in verse, followed by obscurantist commentary — finding new apercus tailor-made for small-journal publication. Nabokov’s apotheosis in academe is quite ironical, because he and his close friend, the literary critic Edmund Wilson, shared an icy disdain for the ivory tower. They viewed universities as ATMs, handy because there were so many of them, and because they were flush with cash. Nabokov, who arrived in the United States penniless in 1940, had to rely on teaching assignments at Wellesley and Cornell to feed his family for 15 years. The moment “Lolita” made him financially independent, he fled Cornell for Switzerland and never set foot in a classroom again.
xxx/ellauri127.html on line 120: In his lifetime, Nabokov received many contrary and often puzzled reviews. The Hollywood producer Robert Evans famously flew to Switzerland in 1968 to read an advance copy of the novel “Ada” in one day. “It was torture,” he recalled. Dwight Macdonald hated “Pale Fire” on behalf of Partisan Review, calling it “unreadable . . . too clever by half . . . Philistine . . . false” — and he hadn’t even finished his first paragraph!
xxx/ellauri127.html on line 140: This chapter gives a brief history of the émigré travelogue in and about America from Alexis de Tocqueville to Simone de Beauvoir, by way of introducing the four authors studied in this book: Vladimir Nabokov, Robert Frank, Alfred Hitchcock and Wim Wenders. Elsa Court argues that the outsider’s perspective has shaped representations of modern America through restless mobility, drawing a portrait of the modern highway shaped by the needs and cravings of the motorist. In the context of mobilities studies’ recent embrace of the humanities, Court makes an important case for the re-examination of the fixed places designed to facilitate motion—motel, gasoline station, roadside restaurant, as well as signage and memorials—and the roadside’s redesignation from so-called non-place to modern American topos.
xxx/ellauri127.html on line 282: The most famous literary version of Melusine tales, that of Jean d'Arras, compiled about 1382–1394, was worked into a collection of "spinning yarns" as told by ladies at their spinning coudrette (coulrette (in French)). He wrote The Romans of Partenay or of Lusignen: Otherwise known as the Tale of Melusine, giving source and historical notes, dates and background of the story. Another version, Chronique de la princesse (Chronicle of the Princess). tells how in the time of the Crusades, Elynas, the King of Albany (an old name for Scotland or Alba), went hunting one day and came across a beautiful lady in the forest. She was Pressyne, mother of Melusine. He persuaded her to marry him but she agreed, only on the promise—for there is often a hard and fatal condition attached to any pairing of fay and mortal—that he must not enter her chamber when she birthed or bathed her children. She gave birth to triplets. When he violated this taboo, Pressyne left the kingdom, together with her three daughters, and traveled to the lost Isle of Avalon.
xxx/ellauri127.html on line 284: The three girls (Liddellin tytöt!) —Melusine, Melior, and Palatyne—grew up in Avalon. On their fifteenth birthday, Melusine, the eldest, asked why they had been taken to Avalon. Upon hearing of their father's broken promise, Melusine sought revenge. She and her sisters captured Elynas and locked him, with his riches, in a mountain. Pressyne became enraged when she learned what the girls had done, and punished them for their disrespect to their father. Melusine was condemned to take the form of a serpent from the waist down every Saturday. In other stories, she takes on the form of a mermaid.
xxx/ellauri127.html on line 373: In any case, a lot of what they have done focuses only on looks. These studies often conclude that various aspects of women's bodies make them more appealing because men think that they're more fertile — insert eye roll here. What's fertility got to do with it?
xxx/ellauri127.html on line 377: We tracked down scientific findings that did not zero in on physical appearances alone. Some of the studies are small, or included only horny Western male college students, so they cannot be overgeneralized. But the results are still intriguing — and often educational.
xxx/ellauri127.html on line 436: L’œuvre littéraire de Prosper Mérimée relève d'« une esthétique du peu », son écriture se caractérisant par la rapidité et l'absence de développements, qui créent une narration efficace et un réalisme fonctionnel adaptés au genre de la nouvelle. Mais ce style a parfois disqualifié les œuvres de Mérimée, auxquelles on a reproché leur manque de relief — « Le paysage était plat comme Mérimée », écrit Victor Hugo.
xxx/ellauri127.html on line 496: 4. Why do Silk’s colleagues fail to defend him? Why would highly educated academics—people trained to weigh evidence carefully and to be aware of the complex subtleties of any object of study—so readily believe the absurd stories concocted to disgrace Coleman Silk? Why does Ernestine describe Athena College as “a hotbed of ignorance”?
xxx/ellauri127.html on line 504: 13. Nathan interprets Coleman’s choosing to reject his past and create a new identity for himself as “the drama that underlies America’s story, the high drama that is upping and leaving—and the energy and cruelty that rapturous drive demands,” whereas Walter thinks of his brother as a “calculating liar,” a “heartless son,” and a “traitor to his race” [p. 342]. Which of these views seems closer to the truth? Are they both legitimate? What is Ernestine’s position?
xxx/ellauri127.html on line 721: Book I gives Endymion's account of his dreams and experiences, as related to Peona, which provides the background for the rest of the poem. In Book II, Endymion ventures into the underworld in search of his love. He encounters Adonis and Venus—a pairing of mortal and immortal—apparently foreshadowing a similar destiny for the mortal Endymion and his immortal paramour. Book III reveals Endymion's enduring love, and he begs the Moon not to torment him any longer as he journeys through a watery void on the sea floor. There he meets Glaucus, freeing the god from a thousand years of imprisonment by the witch Circe. Book IV, "And so he groan'd, as one by beauty slain."
xxx/ellauri127.html on line 739: Shall I give you Miss Brawn? She is about my height—with a fine style of countenance of the lengthen'd sort—she wants sentiment in every feature—she manages to make her hair look well—her nostrills are fine—though a little painful—her mouth is bad and good—her Profil is better than her full-face which indeed is not full but pale and thin without showing any bone—Her shape is very graceful and so are her movements—her Arms are good her hands badish—her feet tolerable—she is not seventeen—but she is ignorant—monstrous in her behaviour flying out in all directions, calling people such names—that I was forced lately to make use of the term Minx—this is I think not from any innate vice but from a penchant she has for acting stylishly. I am however tired of such style and shall decline any more of it".
xxx/ellauri127.html on line 823: And there I shut her wild sad eyes— Mä suljin sen suruisia simmuja
xxx/ellauri127.html on line 833: Who cried—"La belle Dame sans merci Jotka huusi - Kaunis daami armoton
xxx/ellauri127.html on line 911: Think not of them, thou hast thy music too,— Älä niitä haeskele, sulla ihan oma musa on, -
xxx/ellauri128.html on line 128: He maintained a close friendship with Queen Victoria, who in 1876 elevated him to Earl of Beaconsfield. Disraeli´s second term was dominated by the Eastern Question—the slow decay of the Ottoman Empire and the desire of other European powers, such as Russia, to gain at its expense. Disraeli arranged for the British to purchase a major interest in the Suez Canal Company in Egypt. In 1878, faced with Russian victories against the Ottomans, he worked at the Congress of Berlin to obtain peace in the Balkans at terms favourable to Britain and unfavourable to Russia, its longstanding enemy. This diplomatic victory over Russia established Disraeli as one of Europe´s leading statesmen.
xxx/ellauri128.html on line 404: Theodor Reik (12. toukokuuta 1888 Wien — 31. joulukuuta 1969 New York) oli itävaltalais-saksalainen kirjallisuustieteilijä ja psykoanalyytikko, niin kutsutun maallikkoanalyysin uranuurtaja.
xxx/ellauri128.html on line 429: Marya Mannes, in full Maria von Heimburg Mannes, (born Nov. 14, 1904, New York, N.Y., U.S.—died Sept. 13, 1990, San Francisco, Calif.), American writer and critic, known for her caustic but insightful observations of American life.. Mannes was the daughter of Clara Damrosch Mannes and David Mannes, both distinguished musicians. She was educated privately and benefited from the cultural ...
xxx/ellauri128.html on line 449: Саша́ Гитри́ (фр. Sacha Guitry, настоящее имя Александр Жорж Пьер Гитри, фр. Alexandre Georges-Pierre Guitry, 21 февраля 1885, Санкт-Петербург — 24 июля 1957, Париж) — французский писатель, актёр, режиссёр и продюсер. Плодовитый драматург, написал более сотни пьес и снял по некоторым из них фильмы.
xxx/ellauri128.html on line 518: Robert von Ranke Graves (24 July 1895 – 7 December 1985) was a British poet, historical novelist, critic, and classicist. His father was Alfred Perceval Graves, a celebrated Irish poet and figure in the Gaelic revival; they were both Celticists and students of Irish mythology. Graves produced more than 140 works in his lifetime. His poems, his translations and innovative analysis of the Greek myths, his memoir of his early life—including his role in World War I—Good-Bye to All That, and his speculative study of poetic inspiration, The White Goddess, have never been out of print.
xxx/ellauri128.html on line 590: Max Ernst (2 April 1891 – 1 April 1976) was a German (naturalised American in 1948 and French in 1958) painter, sculptor, graphic artist, and poet. A prolific artist, Ernst was a primary pioneer of the Dada movement and surrealism. He had no formal artistic training, but his experimental attitude toward the making of art resulted in his invention of frottage—a technique that uses pencil rubbings of objects as a source of images—and grattage, an analogous technique in which paint is scraped across canvas to reveal the imprints of the objects placed beneath. He is also noted for his novels consisting of collages. Vitun tuhertaja. Onko hölmömpää kuin noi Maxin älynväläyxet? Se on yhtä puupää kuin Wolfram Rothin isäpuoli Ernst Rüdiger. Turmiolan Hannu on kyllä raapinut aforismikasaansa ihan pahnanpohjatkin. Oscar Wilden turauxet puolestaan on tyypillistä homopetteröintiä.
xxx/ellauri129.html on line 714: Meredithin ensimmäinen varsinainen menestysteos oli romaani Diana of the Crossways, joka julkaistiin vuonna 1885. — Hänen ystäviinsä kuuluivat kirjailijoista muun muassa Dante Gabriel Rossetti, Algernon Charles Swinburne ja Honoré de Balzac.
xxx/ellauri130.html on line 774: J'ai d'abord cru que c'était un carburateur et puis j'en ai lu quelques pages — et non, ça n'a pas carburé. C'est des espèces de loufoqueries consciencieuses comme en ferait un Méridional qui voudrait avoir l'air profond.
xxx/ellauri134.html on line 310: Fear: being duped, misled—or ignorance.
xxx/ellauri136.html on line 97: One Hundred Years of Solitude by Gabriel Garcia Marquez—I’m sorry I can’t read it in the original language, but it flows so beautifully even in English. Magic.
xxx/ellauri136.html on line 99: The Sungod’s Journey Through the Netherworld by Andreas Schweizer—This Jungian psychoanalyst took the greatly misunderstood texts of the Amduat (what is in the netherworld) and made sense of them as a journey of transformation.
xxx/ellauri136.html on line 101: The Pilgrimage by Paulo Coelho—all of his spiritual writings are amazing. I picked this one because the story was closest to my own spiritual journey.
xxx/ellauri136.html on line 103: Midnight at Chernobyl by Adam Higgenbotham—my most recent read was for research but turned out to be engagingly written, well-researched and thoroughly mesmerizing.
xxx/ellauri136.html on line 105: Annals of the Former World by John McPhee—this is me cheating so I don’t have to say “all of John McPhee’s geology writing”—John McPhee, who made reading about oranges (yes the fruit) interesting, got bit by the geology bug while researching for an essay about geology in the Southwest. I know this feeling. Again, this is engagingly written and most informative.
xxx/ellauri136.html on line 449: Пора, мой друг, пора! покоя сердца просит — Летят за днями дни, и каждый час уносит Частичку бытия, а мы с тобой вдвоём Предполагаем жить, и глядь — как раз — умрем. На свете счастья нет, но есть покой и воля. Давно завидная мечтается мне доля — Давно, усталый раб, замыслил я побег В обитель дальную трудов и чистых нег.
xxx/ellauri137.html on line 250: — Ô serments! ô parfums! ô baisers infinis!
xxx/ellauri137.html on line 252: — Charles Baudelaire
xxx/ellauri137.html on line 309: As I leaned towards you — oh, my Queen of Delights,
xxx/ellauri137.html on line 315: And I drank of thy breath — oh sweetness, oh gall,
xxx/ellauri137.html on line 320: And to live my Past — laid on thy knees — once more,
xxx/ellauri137.html on line 336: — thou, all my pleasure, thou, my fealties all!
xxx/ellauri137.html on line 365: but — vows and fragrance, infinite desire —
xxx/ellauri137.html on line 371: — Lewis Piaget Shanks, Flowers of Evil
xxx/ellauri137.html on line 378: Do you recall our cheerful room — our evenings there,
xxx/ellauri137.html on line 410: — O cries! O long embraces! O remembered scent!
xxx/ellauri137.html on line 412: — George Dillon, Flowers of Evil (NY: Harper and Brothers, 1936)

The Balcony

xxx/ellauri137.html on line 423: We spoke eternal things that cannot die —

xxx/ellauri137.html on line 447: Rejuvenated from the deep, rebound —

xxx/ellauri137.html on line 450: — Roy Campbell, Poems of Baudelaire

xxx/ellauri137.html on line 489: — O vows! O perfumes! O infinite kisses!

xxx/ellauri137.html on line 491: — William Aggeler, The Flowers of Evil

xxx/ellauri137.html on line 529: — O vows! O fragrant scents! — O kisses without end!

xxx/ellauri137.html on line 545: We spoke of things undying, love unending —

xxx/ellauri137.html on line 570: — O oaths, o perfumes, o kisses without number!

xxx/ellauri137.html on line 572: — Edward Eriksson (n.d.)

xxx/ellauri137.html on line 575:       Two editions of Fleurs du mal were published in Baudelaire's lifetime — one in 1857 and an expanded edition in 1861. "Scraps" and censored poems were collected in Les Épaves in 1866. After Baudelaire died the following year, a "definitive" edition appeared in 1868.

xxx/ellauri138.html on line 211: An article Wylie wrote in 1951 in The Saturday Evening Post entitled "Anyone Can Raise Orchids" led to the popularization of this hobby—not just the rich, but gardeners of every economic level began experimenting with orchids.

xxx/ellauri138.html on line 344: Koko saksalainen filosofinen kritiikki Straussista Stirneriin rajoittuu uskonnollisten käsitysten arvosteluun. Lähtökohtana oli todellinen uskonto ja varsinainen teologia. Mitä ovat uskonnollinen tajunta, uskonnollinen käsitys, se määriteltiin myöhemmässä selittelyssä eri tavoin. Koko edistysaskel oli siinä, että myös virallisesti hyväksytyt metafyysiset ja poliittiset käsitykset, oikeus-, moraali- ynnä muut käsitykset sovitettiin uskonnollisten tai teologisten käsitysten piiriin, samoin kuin siinä, että poliittinen tajunta, oikeus- ja moraalitajunta selitettiin uskonnolliseksi tai teologiseksi, ja poliittinen, oikeudellinen, moraalinen ihminen — viime kädessä »ihminen yleensä» — julistettiin uskonnolliseksi. Uskonnon herruus oletettiin ennalta. Vähitellen alettiin jokainen vallitseva suhde selittää uskonnolliseksi ja muutettiin kultiksi — lainpalvonnaksi, valtionpalvonnaksi jne. Kaikkialla törmättiin dogmeihin ja dogmiuskoon. Maailma kanonisoitui yhä laajemmassa mitassa, kunnes kunnianarvoisa Pyhä Max (Max Stirner, toim.huom.) saattoi lopulta julistaa sen en bloc pyhäksi ja siten päästä kerta kaikkiaan eroon siitä.

xxx/ellauri138.html on line 348: Koska nuorhegeliläiset pitävät mielikuvia, ajatuksia, käsitteitä, joksikin aivan itsenäiseksi muuttamiaan tajunnan tuotteita yleensä ihmisten tosiasiallisina kahleina — aivan samoin kuin vanhahegeliläiset selittivät ne inhimillisen yhteiskunnan todellisiksi yhdyssiteiksi — käy ymmärrettäväksi, että nuorhegeliläisten tuleekin taistella vain näitä tajunnan illuusioita vastaan. Koska heidän kuvitelmiensa mukaan ihmisten suhteet, heidän kaikki tekonsa ja käyttäytymisensä, kahleensa ja rajoituksensa ovat heidän tajuntansa tuotteita, niin nuorhegeliläiset asettavat johdonmukaisesti ihmisille moraalisen vaatimuksen — korvata heidän nykyinen tajuntansa inhimillisellä, kriittisellä tai egoistisella tajunnalla ja kumota siten omat rajoituksensa. Tämä vaatimus tajunnan muuttamisesta toiseksi huipentuu vaatimukseen olevaisen uudenlaisesta tulkitsemisesta, ts. sen hyväksymisestä antamalla sille toisenlaisen tulkinnan. Nuorhegeliläiset ideologit ovat näennäisesti »maailmaa järkyttävistä» fraaseistaan huolimatta suurimpia konservatiiveja. Nuorimmat heistä ovat löytäneet toiminnalleen täsmällisen ilmaisun vakuuttaessaan taistelevansa ainoastaan »fraaseja» vastaan. He unohtavat kuitenkin, että noiden fraasien vastapainoksi he esittävät vain fraaseja ja että taistellessaan ainoastaan tämän maailman fraaseja vastaan he eivät suinkaan taistele todellista, olevaa maailmaa vastaan. Ainoana tuloksena tästä filosofisesta kritiikistä oli vain muutama ja sitä paitsi yksipuolinen uskonnonhistoriallinen selitys kristinuskosta; nuorhegeliläisten kaikki muut väitteet antavat vain lisäväriä vaatimukselle, että heidän mitätöntä selittelyään olisi pidettävä maailmanhistoriallisena löytönä.

xxx/ellauri138.html on line 354: Aivan päinvastoin kuin saksalaisessa filosofiassa, jossa laskeudutaan taivaasta maahan, me nousemme maasta taivaaseen, me emme ts. lähde siitä, mitä ihmiset puhuvat, luulevat, kuvittelevat, emmekä myöskään puhutuista, ajatelluista, luulluista, kuvitelluista ihmisistä tullaksemme sitä kautta fyysisiin ihmisiin — me lähdemme todella toimivista ihmisistä ja heidän todellisen elämisensä prosessista ja osoitamme myös tämän elämisprosessin ideologisten heijastumien ja kaikujen kehityksen. Ihmisen aivoissa syntyvät utukuvatkin ovat heidän aineellisen, kokeellisesti todettavan ja aineellisista edellytyksistä riippuvaisen elämisprosessinsa väistämättömiä härmistymiä, sublimaatioita. Moraali, uskonto, metafysiikka ja muut ideologian lajit sekä niitä vastaavat tajunnan muodot kadottavat näin ollen näennäisen itsenäisyytensä. Niillä ei ole mitään historiaa, niillä ei ole mitään kehitystä, vaan aineellista tuotantoaan ja aineellista kanssakäymistään kehittävät ihmiset muuttavat tämän todellisuutensa mukana myös ajatteluaan ja ajattelunsa tuotteita. Tajunta ei määrää elämää, vaan elämä määrää tajunnan. Ensimmäisessä tarkastelutavassa lähdetään tajunnasta, ikään kuin se olisi elävä yksilö; jälkimmäisessä, todellista elämää vastaavassa tarkastelutavassa, lähdetään todellisesta elävästä yksilöstä ja tarkastellaan tajuntaa ainoastaan hänen tajuntanaan.

xxx/ellauri138.html on line 356: 	Siitä missä spekulatiivinen ajattelu lakkaa, ja se lakkaa todellisen elämän parissa, alkaa siis todellinen, positiivinen tiede, ihmisten käytännöllisen toiminnan, heidän käytännöllisen kehitysprosessinsa esittäminen. Loppuvat korupuheet tietoisuudesta, todellisen tiedon on tultava niiden tilalle. Todellisuuden esittäminen riistää elinympäristön itsenäiseltä filosofialta. Sen tilalle voi tulla korkeintaan yhteenveto yleisluonteisimmista tuloksista, jotka ovat abstrahoitavissa ihmisten historiallisen kehityksen tarkastelusta. Todellisesta historiasta irrotettuina noilla abstraktioilla ei ole sinänsä mitään arvoa. Ne voivat kelvata ainoastaan helpottamaan historiallisen aineiston järjestämistä, osoittamaan sen yksityisten kerrostumien järjestystä. Mutta toisin kuin filosofia nuo abstraktiot eivät anna mitään reseptiä tai kaavaa, jonka mukaan historiallisia aikakausia voitaisiin sovitella paikoilleen. Päinvastoin, vasta sitten vaikeus alkaakin, kun aineistoa käydään tarkastelemaan ja panemaan järjestykseen — olipa kysymys jostain menneestä aikakaudesta tai nykyajasta — kun käydään käsiksi sen todelliseen kuvaukseen. Näiden vaikeuksien voittaminen riippuu edellytyksistä, joita ei suinkaan voida esittää tässä yhteydessä, vaan jotka käyvät selville vasta tutkittaessa todellisen elämisen prosessia ja kunkin aikakauden yksilöiden toiminnan tuloksia. Otamme tässä käsiteltäväksi eräitä noista abstraktioista käyttääksemme niitä ideologian vastaisesti ja selittääksemme ne historiallisten esimerkkien valossa.

xxx/ellauri139.html on line 222: (4) Ippolit tries to figure out the point of living for two weeks. On the one hand, why not just die now and get it over with? But on the other hand, he feels like it's actually only now that he has a death sentence of sorts that he has really started to live. (Which, okay, guys, remember the story Myshkin told about the condensed man and how full of life his last few hours must be? There is definitely more to the idea that the person who knows he is about to die lives a very full life at the end—as Dostoevsky himself experience at his staged execution.)

xxx/ellauri139.html on line 263: "(Ruhtinaan,— Г. Ф.) tärkein sosiaalinen vakaumus on, että talousoppi yxityisomaisuuden haitallisuudesta  on tyhmyys. Ja että kaikki, päin vastoin,  perustuu yxityistämiseen. kirjoittaa Dostojevski luonnoksissaan romaania varten («Из архива Ф.М. Достоевского. Идиот. Неизданные материалы», М.— Л. 1931, s. 108). Vallankumoukselliset demokraatit osoittivat että yhteiskunnan pelastaa vain yhteisomistus, ei filantroopit, vaan kansanjoukkojen vallankumouksellinen taistelu. Dostojevskin paska sensijaan  kuzuu apinan uudelleenkasvatukseen uskonnollisten ja kristillisten ideaalien hengessä. Hän pyllistää vallankumouksen tielle ja  taistelukeinoille. Hän on paha vanha konservipurkki. No sixhä sitä jenkit juuri peukuttavat!

xxx/ellauri139.html on line 348: St. Agnets’ Eve—Ah, bitter chill it was!				Pyhän Aunen aatto - ompa holotna!		

xxx/ellauri139.html on line 373: But no—already had his deathbell rung;					Kyynelet kastuttaa heppulin naamataulua.	

xxx/ellauri139.html on line 418: Pass by—she heeded not at all: in vain					ettei se niistä huolinut, turhaan kökkivät

xxx/ellauri139.html on line 444: Perchance speak, kneel, touch, kiss—in sooth such things have been.	Ehkäpä jopa nussia, päästä tyhjentämään pussia.

xxx/ellauri139.html on line 473: “More tame for his gray hairs—Alas me! flit!				Sekin, hopeaselkä, eliskä lähe heti menee!

xxx/ellauri139.html on line 474: “Flit like a ghost away.”—“Ah, Gossip dear,                             Tee kuin puu ja lähde! - Öh, vanha kirkkovene,

xxx/ellauri139.html on line 476: “And tell me how”—“Good Saints! not here, not here;			Ja kerro miten - Voi vittu! ei, ei täällä!

xxx/ellauri139.html on line 482: And as she mutter’d “Well-a—well-a-day!”				Eukko mutrusti suuta: No jopa, jopa on!

xxx/ellauri139.html on line 491: “St. Agnes! Ah! it is St. Agnes’ Eve—					Pyhä Aune! Aijoo, on pyhän Aunen aatto - 

xxx/ellauri139.html on line 496: “To see thee, Porphyro!—St. Agnes’ Eve!					Ja vielä Aunen aattona - aivan pöyristynyt!

xxx/ellauri139.html on line 520: “From wicked men like thee. Go, go!—I deem				sikeitä, pelkäämättä tollasta #metoo-setää!

xxx/ellauri139.html on line 539: “Were never miss’d.”—Thus plaining, doth she bring			Rukous sun pään menoxi! Tän kuultuaan

xxx/ellauri139.html on line 619: Save wings, for heaven:—Porphyro grew faint:				Vaan siivet puuttui, ei ihme et otti eteen

xxx/ellauri139.html on line 653: And ’tween the curtains peep’d, where, lo!—how fast she slept.		kannikoiden välissä, siitä peremmälle.

xxx/ellauri139.html on line 659: A cloth of woven crimson, gold, and jet:—				Nyt kelpais kalja tai vahvempikin aine varmaan.	

xxx/ellauri139.html on line 663: Affray his ears, though but in dying tone:—                             No nyt meni ovi kii, mitä hittoja.		

xxx/ellauri139.html on line 682: Filling the chilly room with perfume light.—                            Hyvältä haisee jänisraukan sapuskat.	    

xxx/ellauri139.html on line 691: By the dusk curtains:—’twas a midnight charm				Turha vaiva, unen ote mirrin sielusta	

xxx/ellauri139.html on line 700: Awakening up, he took her hollow lute,—					Porfyyrikin sinä taitaa vähän torkkua.	

xxx/ellauri139.html on line 701: Tumultuous,—and, in chords that tenderest be,                      	Kun se havahtuu, yhä vailla orkkua,	

xxx/ellauri139.html on line 704: Close to her ear touching the melody;—					Sokeria ei saa unhottaa, lalii lalaa.	

xxx/ellauri139.html on line 706: He ceased—she panted quick—and suddenly                         	Laulaa hiljaa sen kuin isoäidin korvaan.

xxx/ellauri139.html on line 737: Blendeth its odour with the violet,—					Sun kainaloon mä käperryn ja jos sallit sinne jään.	

xxx/ellauri139.html on line 747: “Porphyro will leave me here to fade and pine.—				Vaan niinpä tietysti, sähän sait jo häntää

xxx/ellauri139.html on line 750: “Though thou forsakest a deceived thing;—				Se on sun nimi, se löytyy luettelosta,

xxx/ellauri139.html on line 759: “A famish’d pilgrim,—saved by miracle.					Ja bonuxexi vielä imutan sun viikunan.		

xxx/ellauri139.html on line 767: “Arise—arise! the morning is at hand;—                                  Nöyse! Nöyse! On aamu, joutuu nysse.		  

xxx/ellauri139.html on line 768: “The bloated wassaillers will never heed:—				Sun keljut sukulaiset ei tiä miston kyse.	

xxx/ellauri139.html on line 770: “There are no ears to hear, or eyes to see,—				Kabinetin äijät pian alkaa yskii sekä räkäseen,	

xxx/ellauri139.html on line 778: At glaring watch, perhaps, with ready spears—				Keräävät kokoon vaatteet, arvoesineet,		

xxx/ellauri139.html on line 779: Down the wide stairs a darkling way they found.—                   	Takit hatut huivit lompakot ja käsineet,	

xxx/ellauri139.html on line 793: By one, and one, the bolts full easy slide:—				Portin pultit on hankalat mutta aukeaa.	  

xxx/ellauri139.html on line 794: The chains lie silent on the footworn stones;—				Sen takana leviää nummimaata aukeaa.	  

xxx/ellauri139.html on line 1027: — Nicolas Gilbert, Le Dix-huitième siècle

xxx/ellauri148.html on line 116: The Yom Kippur War, also known as the Ramadan War, the October Revolution, the 1973 Arab–Israeli War or the Fourth Arab–Israeli War, was an armed conflict fought from 6 to 25 October 1973 between Israel and a coalition of Arab states led by Egypt and Syria. The majority of combat between the two sides took place in the Sinai Peninsula and the Golan Heights — both of which were illegally occupied by Israel in 1967, and still are — with some fighting in African Egypt and northern Israel. Egypt's initial objective in the war was to seize a foothold on the eastern bank of the Suez Canal and subsequently leverage these gains to negotiate the return of the rest of the Israeli-occupied Sinai Peninsula.

xxx/ellauri148.html on line 132: In the 1967 war, it seems the Israeli felt their grip was loosening: based largely on interviews with Israeli soldiers—conducted in 1967, and heavily censored at the time—Censored Voices documents Israeli soldiers “summarily executing prisoners and evacuating Arab villages in a manner that one fighter likened to the Nazis’ treatment of European Jews.” 

xxx/ellauri148.html on line 173:  And if there should arise from the House of David a king, who studies the Torah and occupies himself with the commandments as his father David had, according to the written and oral Torah; and if he forces all Israel to follow the Torah and observe its rules; and if he fights the wars of the Lord—then he must be presumed be the Messiah.  And if he succeeds in his acts, and rebuilds the Temple in its place, and gathers the exiled of Israel—then he certainly is the Messiah. And he will repair the whole world to serve the Lord together, as it is written,   For then will I turn to the peoples a pure  language that they may call upon the name of the Lord to serve Him with one consent (Zeph. 3:9)

xxx/ellauri148.html on line 278:  Rabba said in the name of R. Yohanan: “Jerusalem of this World is not like Jerusalem of the World to Come. Jerusalem of This world—anybody who wants to go up to visit her, can do so; but to Jerusalem of the World to Come only those can go up who are invited to come…”   And Rabba said in the name of R. Yohanan: “In the future, the Holy One, blessed be He, will elevate Jerusalem by three parasangs…Resh Laqish said: “In the future the Holy One, blessed be He, will add to Jerusalem a thousand gardens, a thousand towers, a thousand fortresses, and a thousand passages, and each of them will be like sepphoris in its tranquil days, and there were in it 180,000 marketplaces of merchants of pot dishes.”  (Babylonian Talmud Bab. Bath. 75b)[24]

xxx/ellauri149.html on line 447:     Judas and Mary are explicitly paralleled through their matching costumes — red shirt/dress with black sleeves/jacket.

xxx/ellauri149.html on line 462: — Lisa Simpson to Bart, The Simpsons, "How Munched Is That Birdie In The Window?"   


xxx/ellauri149.html on line 469: "Corpsing" (also called "breaking") is actor-speak for having an unscripted fit of laughter onstage, so-called because the worst time to have the giggles is when one is playing a corpse. Corpsing doesn't necessarily mean that the material is especially funny (though, of course, it can be), or that the actors aren't taking it seriously; it just happens, and even excellent actors can corpse. Many actors try to cover this by covering their mouth and muffling the sounds they make. When this is done, a fit of laughter can rather haphazardly be turned into violent sobbing, with varying levels of success. Of course, that only helps if violent crying is appropriate for the scene (again, playing a corpse leaves you in trouble, as corpses don't cry either — usually).

xxx/ellauri149.html on line 472: — Gary Owens, caught off guard at realizing the sponsor of the ad he was reading was a hemorrhoid cream. Hädensa! 

xxx/ellauri154.html on line 214:   The theme of Salome is one that Moreau returned to time and again. The artist explored the subject in more than one hundred sketches and drawings as well as in numerous paintings—ranging from highly elaborate to sketchily rendered—and even in sculpture (both Salome and The Apparition figured in Moreau’s waxworks). Moreau was not alone in his passion for the theme of Salome, as other famous artists — Lucas Cranach, Caravaggio, Titian, Guido Reni, Artemisia Gentileschi, Aubrey Beardsley, and Nabil Kanso, to name just a few — shared this interest. Selkeästi perverssiä jengiä.

xxx/ellauri154.html on line 220:       Moreau underlines  the sacredness of the scene, but also warns of the proverbial power of the femme fatale (a seductive woman who lures men into dangerous situations—a popular subject among Symbolist artists) as one who can be fatal to any man—even saints.

xxx/ellauri154.html on line 222: Its symbolism is ambiguous. Does it signal lust, or is it a symbol of purity? Mieti sitä. Moreau’s typically enigmatic approach made him a target for the promoters of Naturalism, most notably Émile Zola, who accused him of retreating into his dreams and offering an artistic response to the challenge posed by science—one that couldn’t possibly have value in the modern age. Such criticism hurt him deeply and only fueled Moreau’s purposeful cultivation of ambiguity. 

xxx/ellauri157.html on line 73: Who am I? What is my name? Why am I here? I lie empty, open, choiceless on a beach—waiting for a gift from the sea.

xxx/ellauri157.html on line 100: Like Rubens, Jordaens painted altarpieces, mythological, and allegorical scenes, and after 1640—the year Rubens died—he was the most important painter in Antwerp for large-scale commissions and the status of his patrons increased in general. However, he is best known today for his numerous large genre scenes based on proverbs in the manner of his contemporary Jan Brueghel the Elder, depicting The King Drinks and As the Old Sing, So Pipe the Young. Jordaens' main artistic influences, besides Rubens and the Brueghel family, were northern Italian painters such as Jacopo Bassano, Paolo Veronese, and Caravaggio. 

xxx/ellauri165.html on line 330: Sharing Sir William Hamilton's enthusiasm for classical antiquities and art, she developed what she called her "Attitudes"—tableaux vivants in which she portrayed sculptures and paintings before British visitors. Emma developed the attitudes using Romney's idea of combining classical poses with modern allure as the basis for her act.

xxx/ellauri165.html on line 639:     — Matthew 25:41–43

xxx/ellauri166.html on line 262: and my reproof you ignored— 


xxx/ellauri166.html on line 299: Shechinah שכינה (also spelled Shekhinah) is derived from the word shochen שכן, “to dwell within.” The Shechinah is Cod or that which Cod is dwelling within. Sometimes we translate Shechinah as “The Divine Presence.” The word Shechinah is feminine, and so when we refer to Cod as the Shechinah, we say “She.” Of course, we’re still referring to the same One Cod, just in a different modality. After all, you were probably wondering why we insist on calling Cod “He.” We’re not talking about a being limited by any form—certainly not a body that could be identified as male or female. "It" would be better, only it reminds one too much of Freud's id. "They" would sound dangerously polytheistic.

xxx/ellauri166.html on line 308: By now, all our souls have been recycled though the washing machine of Time many times. What your soul accomplished in previous descents, and what is left to be accomplished—all that is of necessity hidden from you. As Rabbi Moshe Cordovero wrote, “Those who know do not say, and those who say do not know.” 

xxx/ellauri166.html on line 310:   We are all international activists—the yeshivah student struggling for clarity in an abstruse Talmudic passage, the storeowner who refuses to sell faulty merchandise, the little girl joyfully lighting her candle before Shabbat, the hiker who reaches the top of her climb and breathlessly recites a blessing to the Creator for the magnificent view, the young father who has just now started wrapping tefillin every morning, the subway commuter who lent the guy next to him a shoulder to sleep upon, and the simple Jew who checks for a kosher symbol on the package before making a purchase. Our destiny is tied to the destiny of those books, that merchandise, that time of the week, that mountain, that morning rush, that neighbor and that train, and the food in that package. We cannot live without them, and their redemption cannot come without us. We are all sanitation workers.

xxx/ellauri166.html on line 390: Shlomo Yitzchaki (Hebrew: רבי שלמה יצחקי‎; Latin: Salomon Isaacides; French: Salomon de Troyes, 22 February 1040 – 13 July 1105), today generally known by the acronym Rashi (see below), was a medieval French rabbi and author of a comprehensive commentary on the Talmud and commentary on the Hebrew Bible (the Tanakh). Acclaimed for his ability to present the basic meaning of the text in a concise and lucid fashion, Rashi appeals to both learned scholars and beginner students, and his works remain a centerpiece of contemporary Jewish study. His commentary on the Talmud, which covers nearly all of the Babylonian Talmud (a total of 30 out of 39 tractates, due to his death), has been included in every edition of the Talmud since its first printing by Daniel Bomberg in the 1520s. His commentary on Tanakh—especially on the Chumash ("Five Books of Moses")—serves as the basis for more than 300 "supercommentaries" which analyze Rashi's choice of language and citations, penned by some of the greatest names in rabbinic literature.

xxx/ellauri167.html on line 476:     “Some Weeks ago I sent you a Letter with Robison’s Proof of a Conspiracy which I hope you have received. I have since been more confirmed in the Ideas I had suggested to you concerning an Order of Men, who in Germany have distinguished themselves by the Names of Illuminati—German Union—Reading Societies—and in France by that of the Jacobine-Club, that the same are now existing in the United States.

xxx/ellauri167.html on line 480:     Even in this small Place the French-Faction is very numerous—their Expressions are like those of Bloody-Lutetia [Lutetia Parisiorum, or Paris]: their Sentiments in exact Unison with those of the Jacobine Club: their Hearts panting for Faggots and Guillotines. The Foundation of their Sanctuary is laid with Lies, and every Stone of the Superstructure reared with Falsehood. They are laboriously employed to excite Discord—to extinguish public Virtue—to break down the Barriers of Religion—to establish Atheism, and work the Downfall of our Civil—and Religious Liberty. Should their perfidious Schemes succeed (I tremble even at the Imagination of the Consequences) what would become of our Columbia?”

xxx/ellauri167.html on line 521:     — I have received your favor of the 17th, & communicated it to Mr. Smith. I lately forwarded your letter from Dr. Priestley, endorsed `with a book’; I struck those words through with my pen, because no book had then come. It is now received, & shall be forwarded to Richmond by the first opportunity: but such opportunities are difficult to find; gentlemen going in the stage not liking to take charge of a packet which is to be attended to every time the stage is changed. The best chance will be by some captain of a vessel going round to Richmond. I shall address it to the care of Mr. George Jefferson there.

xxx/ellauri167.html on line 598: If the idea of network coverage being driven by liberal bias wasn’t new to the 1968 convention, the heat and undeniable violence of the convention was a perfect opportunity for white, conservative, middle Americans to coalesce in their resentment—and not just in the South, but across the nation. America was falling apart at the seams, and the network news was seen as complicit in the conspiracy by virtue of recording what was happening.

xxx/ellauri167.html on line 600: The republican voices of the 1960s are as loud and silly as the democratic ones today, and that leaves us unsurprised when they reappear at the front of our national consciousness—the media, as any Shell-owning liberal could attest on November 9, 2016, and January 6, 2021.

xxx/ellauri168.html on line 98: The aim of these assaults is to establish the role of the major imperialist powers—above all, the United States—as the unchallengeable arbiters of world affairs. The "New World Order" is precisely this: an international regime of unrelenting pressure and intimidation by the most powerful capitalist states against the weakest.

xxx/ellauri168.html on line 266: 	A key problem of physicalism, however, is its inability to make sense of how our subjective experience of qualities—what it is like to feel the warmth of fire, the redness of an apple, the bitterness of disappointment and so on—could arise from mere arrangements of physical stuff. (What the fuck? Who says it can't? Rousseau? Bergson? Wittgenstein? Anyway, what is there to make sense of in the first place?)

xxx/ellauri168.html on line 272: 	However, constitutive panpsychism has a critical problem of its own: there is arguably no coherent, non-magical way in which lower-level subjective points of view—such as those of subatomic particles or neurons in the brain, if they have these points of view—could combine to form higher-level subjective points of view, such as yours and ours. This is called the  combination problem and it appears just as insoluble as the hard problem of consciousness.

xxx/ellauri168.html on line 274: 	The obvious way around the combination problem is to posit that, although consciousness is indeed fundamental in nature, it isn’t fragmented like matter. The idea is to extend consciousness to the entire fabric of spacetime, as opposed to limiting it to the boundaries of individual subatomic particles. This view—called “cosmopsychism” in modern philosophy, although our preferred formulation of it boils down to what has classically been called “idealism”—is that there is only one, universal, consciousness. The physical universe as a whole is the extrinsic appearance of universal inner life, just as a living brain and body are the extrinsic appearance of a person’s inner life.

xxx/ellauri168.html on line 276: 	And here is where dissociation comes in. We know empirically from DID that consciousness can give rise to many operationally distinct centers of concurrent experience, each with its own personality and sense of identity. Therefore, if something analogous to DID happens at a universal level, the one universal consciousness could, as a result, give rise to many alters with private inner lives like yours and ours. As such, we may all be alters—dissociated personalities—of universal consciousness! God is schizophrenic, and you and me are His split personalities! Well he does strike readers of the "good book" as somewhat paranoid.

xxx/ellauri169.html on line 154: As Walt became more successful, he lost touch with his overworked and undercompensated employees, who eventually started to rebel against him. Even Art Babbitt—one of Walt's closest friends and allies and the man who drew Goofy—stood up to Walt. But Walt didn't want to hear the criticism, and he fired Babbitt. Matters only got worse, when in 1941, 200 of Walt's employees picketed outside the studio.

xxx/ellauri170.html on line 87: It is not now as it hath been of yore;—			No nyt ei enää tunnu siltä,		

xxx/ellauri170.html on line 116:                  Doth every Beast keep holiday;—	Elukatkin lähtee rokuliin			

xxx/ellauri170.html on line 126: The fulness of your bliss, I feel—I feel it all.	Teidän autuudesta, mä tunnen - tunnen sen.	

xxx/ellauri170.html on line 135: And the Babe leaps up on his Mother's arm:—		Ja vauva notkuu äidin käsivarrella:	

xxx/ellauri170.html on line 137:             —But there's a Tree, of many, one,		- mut siinon puu, 1 monesta,		

xxx/ellauri170.html on line 205: Haunted for ever by the eternal mind,—			Jossa kummittelee aina ikuinen pää,-		

xxx/ellauri170.html on line 233: With new-fledged hope still fluttering in his breast:—	Tulevaisuustoivo vielä perhosena vazassa -	

xxx/ellauri170.html on line 953: Le baiser florentin (ou colombin) est celui qu’en termes précis, on appelle baiser lingual parce qu’il se donne sur la bouche en introduisant le bout de la langue. — (Maurice Piron, Guillaume Apollinaire : La chanson du mal-aimé, 1987)

xxx/ellauri173.html on line 146:     quōs ego— sed mōtōs praestat compōnere flūctūs.		Kyllä minä teidät - mutta ensin pitää vaimentaa aaltoliike.

xxx/ellauri173.html on line 436: Pour triomphe la faute idéale de roses —

xxx/ellauri174.html on line 312: Ohitan tässä alla melko lailla kekseliäisyyttä: mutta itse asiassa (minä voin tästä lähtien myöntää sen sinulle), mielikuvitukseni, jopa ylikuormitettuna eläimellisyydestä, jota ruokkiin, tunnustan sen, neiti Evelyn Habalia kohtaan. ei, - ei! ei ! — ei osannut ehdottaa minulle, kuinka fantastisessa ja lähes käsittämättömässä määrin tämän aksiooman täytyy vahvistaa… se, mitä olemme parhaillaan näkemässä, kuulemassa ja koskettamassa.

xxx/ellauri174.html on line 535: Tälle vitsille lordi Ewald, jo ennestään hyvin ärsyyntynyt, alkoi nauraa kevyesti; — sitten nähtyään, että Edison myös nauroi, häneen valtasi mitä kummallisin hilpeys: paikka, kellonaika, kokeen aihe, sama pillunajatus, joka heidän välillään sinkoili, kaikki näytti hänestä hetken yhtä pelottavalta kuin se oli järjetöntä: niin, että epäilemättä ensimmäistä kertaa elämässään hän sai todellisen hullun naurun kohtauksen, joka kaikui tämän haudan Eedenin kaikuista. "Olet kauhea pilkkaaja", hän sanoi. "Verraton huromisti."

xxx/ellauri174.html on line 659:   Tulen kertomaan teille: Koska jumalamme ja toiveemme ovat vain tieteellisiä, miksi ei myös rakkautemme tulisi sellaisiksi? — Unohdetun legendan, Tieteen halveksiman legendan aaton tilalle tarjoan sinulle tieteellisen Eeven, — ainoan, joka näyttää olevan niiden kuihtuneiden sisäelinten arvoinen, — sentimentaalisuuden jäännöksellä, josta olet. ensimmäinen, joka hymyilee, - te edelleen kutsutte "sydämiäsi". Kaukana tukahduttamasta rakkautta näitä vaimoja kohtaan, joka on niin välttämätöntä (ainakin toistaiseksi) rotumme ikuisuuden kannalta, vaan ehdotan päinvastoin heidän keston, koskemattomuuden ja aineellisten etujen turvaamista, vahvistamista ja takaamista. , tuhannen ja tuhannen ihmeellisen simulaakrin viattomalla avustuksella - jossa kauniit rakastajattaret, pettymys, mutta tästä lähtien vaarattomat, hajoavat tieteen edelleen täydelliseksi kehittämäksi luonnoksi, jonka terveellinen lisäys ainakin vaimentaa tekopyhien avioliittojenne haittoja. aina loppujen lopuksi.

xxx/ellauri175.html on line 592: Kunpa tietäisit kuinka suloinen tulevaisuuden sieluni yö on ja kuinka monta unta olet odottanut minua! Kunpa tietäisit mitä huimauksen, melankolian ja toivon aarteita persoonallisuuteni kätkee! Minun eteerinen lihani, joka odottaa vain henkesi henkäystä tullakseen eläväksi, ääneni, jossa kaikki harmoniat ovat vangittuina, minun kuolematon pysyvyyteni, eikö se mitään, turhan päättelyn kustannuksella, joka todistaa, että minua ei ole olemassa? — Ihan kuin et olisi vapaa kieltäytymään tästä turhasta ja kuolevaisesta todisteesta, kun se itsessään on niin kyseenalainen, koska kukaan ei voi määritellä, mistä tämä Olemassaolo, josta hän puhuu, alkaa tai missä sen olemus tai sen käsite koostuu. "Onko syytä pahoitella, etten ole kavaltavien rotua? niistä, jotka hyväksyvät valoissaan etukäteen mahdollisuuden jäädä leskeksi? Minun rakkauteni, sillä olen kuin se, jolla enkelit sykkivät, sisältää ehkä kiehtovampia viettelyjä kuin maallisilla aisteilla, joissa muinainen Circe vielä nukkuu!

xxx/ellauri175.html on line 892: "Ystävä, olen lohduton yksin Hadalysta – ja suren vain tätä haamua. Mitäs jos väsättäisiin uusi? - Jäähyväiset. — Lordi Ewald. »

xxx/ellauri176.html on line 152:   The novel then takes a complete new direction in terms of both tone and style, as Serge — suffering from amnesia and total long-term memory loss, with no idea who or where he is beyond his first name — is doted upon by Albine, the whimsical, innocent and entirely uneducated girl who has been left to grow up practically alone and wild in the vast, sprawling, overgrown grounds of Le Paradou. The two of them live a life of idyllic bliss with many Biblical parallels, and over the course of a number of months, they fall deeply in love with one another; however, at the moment they consummate their relationship, they are discovered by Serge's monstrous former monsignor and his memory is instantly returned to him. Wracked with guilt at his unwitting sins, Serge is plunged into a deeper religious fervour than ever before, and poor Albine is left bewildered at the loss of her soulmate. As with many of Zola's earlier works, the novel then builds to a horrible climax. Well not really. It is more like a horrible anticlimax.

xxx/ellauri176.html on line 164:  is first of all a misnomer because the priest is alive and well at the end. A mixture of social realism and Walt Disney, it is a tale about a delicate young French priest, Father Mouret (Francis Huster), who elects to take a parish in the provinces where the peasants have long since embraced every sin there is. The priest himself successfully sublimates his own lustful thoughts in prayer until one day he meets a strange young woman, Albine (Gillian Hills), who lives with her atheistic uncle in the remains of an old chateau set in the middle of a magic garden.Well, one thing leads to another and poor Father Mouret loses his memory long enough to lose himself to worldly pleasures in the garden with Albine, who, like Eve, tempts the man, though in this case the author is clearly in favor of apple-eating. Things go very badly for the couple. The priest returns to his church and Albine commits suicide in a way that is unique in my movie-going memory: She smothers herself to death with calla lilies.The actors are steadfastly unconvincing. The one interesting character in the film is an old lady we meet only after her death—someone, we're told in shocked tones, who, during the Revolution, posed naked as a living-statue of Reason. 

xxx/ellauri178.html on line 111:   Tästä aiheesta piti Pilin tehdä term paper mutta se bylsikin vaan Lontoossa kahta (2) ruozalaista tyttöä jotka tiesivät että WW2 oli kaikkien syytä. Pili jenkkijutkuna meinas saada hepulin. Bettan koitti tehdä izarin ja Pili syytti siitä Gittania. Vitun Raskolnikov, tai Puddinhead Wilson. Pudd'nhead Wilson (1894) is a novel by American writer Mark Twain. Its central intrigue revolves around two boys—one, born into slavery, with 1/32 black ancestry; the other, white, born to be the master of the house. The two boys, who look similar, are switched at infancy. Each grows into the other's social role.

xxx/ellauri178.html on line 157:   Portnoy, he says later on, “is about talking about yourself…. The method is the subject.” Likewise, “The comedy in The Great American Novel exists for the sake of no higher value than comedy itself; the redeeming value is not social or cultural reform, or moral instruction, but comic inventiveness. Destructive, or lawless, playfulness—and for the fun of it” (Roth’s italics).

xxx/ellauri178.html on line 159:   This isn’t Nabokov’s ice-blue disdain for the academic ninnyhammers who went snorting after his truffles. Roth, instead, worries himself, as though a sick tooth needed tonguing. He is looking over his shoulder because somebody—probably Irving Howe—might be gaining on him: “This me who is me being me and no other!” as Tarnopol explained at the end of My Life as a Man.

xxx/ellauri178.html on line 288:     L'enfant y est heureux, bon élève et enfant de chœur, mais réservé et taciturne. De cette époque remontent les premiers émois masculins de Genet, en la personne du petit Lou Culafroy — qui deviendra plus tard « Divine », héros et ensuite héroïne de Notre-Dame-des-Fleurs — ainsi que d’hommes plus âgés, braconniers de passage ou marginaux égarés. Il obtient la meilleure note de sa commune au certificat d'études primaires.

xxx/ellauri179.html on line 193:     The conventional view is that Hemingway’s true “religion” —  insofar as he can be said to have one at all — is his famous “Cod”:  that in order to give meaning to life, one had to live by some set of ethical principles.

xxx/ellauri179.html on line 197:     It could be “the cod of the hunter,” or “the cod of the bullfighter,” or (most fittingly) “the cod of the sea.” It didn’t matter what cod one chose — just as long as it provided rules for living a life of rectitude and dignity in an otherwise meaningless universe. Bets are off about the outcome of a war, says Hem's cod, for instance.

xxx/ellauri179.html on line 199:   But if Hemingway’s conversions were sincere — and there is little reason to think they were not — then his “cod” is not based on the agnosticism of a disillusioned existentialist, but rather on the comprehensive, universal affirmation of Christianity.

xxx/ellauri179.html on line 201:   Still, the fact that they bring up Hemingway’s Catholicism at all confirmed my own suspicions of a deeper, clear-eyed spiritual sensibility lurking behind all of Hemingway’s naturalistic plots — forcing me to reconsider everything I had previously thought about the man. I see Catholicism as playing a central role in Hemingway’s literary vision and moral landscape.  Non-catholics just turn  away from the religious clues in his work to focus on his public image, war exploits, and psychological instability — all the while missing that singularly under-reported and significant aspect of Hemingway’s life as a writer: his Catholicism.

xxx/ellauri179.html on line 208: After having been anointed, Hemingway described himself as having become a “Super-Catholic.” It was a near-death experience that changed the course of his life. After the war, he went to work as a foreign correspondent in Paris. And eight years later — after his first marriage failed — he undertook a second, more formal conversion process in preparation for marriage to his second wife, devout Catholic Pauline Pfieffer.

xxx/ellauri179.html on line 218:     In a letter to his friend Father Vincent Donavan in 1927 just before he married his second wife, Hemingway wrote, “I have always had more faith than intelligence or knowledge and I have never wanted to be known as a Catholic writer because I know the importance of setting an example — and I have never set a good example.”

xxx/ellauri179.html on line 224: The first time I read Hemingway’s books, I found an irrepressible piety and sense of the sacred permeating all his naturalistic plots. Had I known then about his Catholicism, it would have clarified things — and made the books better.

xxx/ellauri179.html on line 227:   Knowing these things does not explain away all the troubling aspects of Hemingway’s egocentric personal life — his public inebriations, domestic abuse, womanizing, and suicide, but it helps me to understand the kinds of people Hemingway admired, their motivations and ideals, and the brave, virtuous person he was attempting to become.

xxx/ellauri179.html on line 281: By the time he was on to his most open-minded wife, Mary, his final spouse, they were exchanging letters about hair that were, Dearborn says, ‘frankly pornographic’, while indulging in sexual role-swapping in bed. Of course, Hemingway — who won the Nobel Prize for Literature in 1954 — wouldn’t be the first genius to have a somewhat less impressive private life. The real Hemingway was self-pitying, self-glorifying and thin-skinned, ready to turn viciously on friends on the slightest provocation. Kake kavereineen tossa Ford Fiesta kirjassa vaikutti täys paskiaisilta ihan miehissä. Mitääntekemättömiä renttuja. 

xxx/ellauri179.html on line 430: “It doesn't. If it does—“

xxx/ellauri179.html on line 468: Juice stepped inside and Papa looked at Nick. “You hunt big game with a gun. But for me—a bull or a man you fight with your hands.”

xxx/ellauri179.html on line 488: “I've come to appreciate this. The harsh details in the background with the stillness in the foreground here—” It was Swans Reflecting Elephants by Dalí. “See this arrogant son of a bitch, Juice, missing the scene. The elephants standing on the shore and the swans floating over them.” Behind the swans grew trees, twisting to the sky. “He's so arrogant. And ignorant. He walked all the way from the town up the hill in the distance and here he's facing away with his hand on his hip. He can't see the color of the sky different from the reflection in the pond.”

xxx/ellauri179.html on line 648: Hemingway makes explicit here the themes of irony and pity: the irony of Kake's situation (he is a kind of superman who nevertheless can't perform the most basic of manly activities, namely fucking) as well as the pity "we" (who have our penises in working order) feel for him. The writer does so in an extended section, rich with dialogue, that is meant to be funny but has not dated well. The joking between Kake and Bill, over breakfast and later at lunch, is certainly believable as such, but it's difficult for a contemporary audience to follow, because the references to Frankie Fritsch and so forth have grown obscure with the passage of time. (The reference to Bryan's death tells us exactly when these scenes are occurring: 1925.) Do note, however, that Kake's physical condition is alluded to — and quickly backed away from. ("I'd a hell of a lot rather not talk about it" could be the motto of Kake's stoic take on the world, while Hemingway's would be "I want to talk about it all the time".) The writer has established, however, that Kake's condition is not simple impotence (rather it is loss of limb, or shortening of the joystick) and that it was caused by an accident.

xxx/ellauri179.html on line 652: More black humor: "Get up," Kake tells Bill, who replies "What? I never get up." Of course, it is Kake, not Bill, who never gets up. Later, trout (again, a phallic fish) try in vain to swim against the current of a waterfall, and — not so humorously — Kake reads a book about a man frozen inside a glacier whose wife awaits the reappearance of his body for twenty-four years. Kake is "frozen," too, only no one has the patience to await his unthawing.

xxx/ellauri179.html on line 793: In general, biographers describe Defense as "ironic": it was not so much a defense of women as a critique of the relationship between the sexes. Topics covered by the book included "Woman's Equipment," "Compulsory Marriage," "The Emancipated Housewife," and "Women as Martyrs." Women were gaining rights, according to Mencken—the ability to partake in adultery without lasting public disgrace, the ability to divorce men, and even some escape from the notion of virginity as sacred, which remained as "one of the hollow conventions of Christianity." Women nonetheless remained restrained by social conventions in many capacities.

xxx/ellauri179.html on line 803:     It is the close of a busy and vexatious day—say half past five or six o´clock of a winter afternoon. I have had a cocktail or two, and am stretched out on a divan in front of a fire, smoking. At the edge of the divan, close enough for me to reach her with my hands, sits a woman not too young, but still good-looking and well dressed—above all, a woman with a soft, low-pitched, agreeable voice. As I snooze she talks—of anything, everything, all the things that women talk of: books, music, the play, men, other women. No politics. No business. No religion. No metaphysics. Nothing challenging and vexatious—but remember, she is intelligent; what she says is clearly expressed... Gradually I fall asleep—but only for an instant... then to sleep again—slowly and charmingly down that slippery hill of dreams. And then awake again, and then asleep again, and so on. I ask you seriously: could anything be more unutterably beautiful?

xxx/ellauri179.html on line 857: Older than me, but my first un— 				Mua vanhempi, mulle eka,		

xxx/ellauri179.html on line 858:   More like a mother she were— 					enemmänkin äitihahmona,			

xxx/ellauri179.html on line 866: Funny an’ yellow an’ faithful— 					Hassu keltainen ja uskollinen,			

xxx/ellauri179.html on line 882:   ’Long of a kid o’ sixteen— 					mulla oli 16v tyttö mukana,	

xxx/ellauri179.html on line 889: But—I learned about women from ’er! 				mutta opin siltä paljon naisista!		

xxx/ellauri179.html on line 906:   They’re like as a row of pins— 				niitä on kolmetoista tusinaan.		

xxx/ellauri179.html on line 928: An’ ’er name was Supi-yaw-lat—jes’ the same as Theebaw’s Queen,		Ja sen nimi oli Supikoira tai jotain, sama kuin Teeban kuningattarella.			

xxx/ellauri179.html on line 932:    Bloomin’ idol made o’ mud—							Vitun mudasta tehty idoli---				

xxx/ellauri179.html on line 933:    What they called the Great Gawd Budd—					ne sanoi sitä gautama buddaxi---

xxx/ellauri179.html on line 949: But that’s all shove be’ind me—long ago an’ fur away,			Mut tää on kaikki jo takanapäin, aika päiviä	

xxx/ellauri179.html on line 965:    —Law! wot do they understand?					        Ei helvatti, mitä väliä?				

xxx/ellauri179.html on line 971: For the temple-bells are callin’, and it’s there that I would be—	Sillä siellä kellot mulle soittavat, siellä mä oisin tosi mieluusti---		

xxx/ellauri179.html on line 986:   Hemingway routinely describes Robert Cohn, introduced in the novel’s first lines as “the middleweight boxing champion of Princeton,” as a “kike” and a “rich Jew”; his obnoxiousness fuels the plot. (Cohn was based on Harold Loeb, a friend who gave Hemingway crucial support in getting his early work published; Hemingway could not forgive anyone who did him a good turn.) The anti-Semitic insult of writing a character like Cohn into his first major novel is breathtaking: it was not, like Hemingway’s letters, intended for private consumption only, but as characterization and a plot device in a work of fiction — a novel, as it turned out, written for the ages.

xxx/ellauri179.html on line 988:   “The Sun Also Rises” is, for many readers, their introduction to Hemingway. It is taught in our schools. In writing it, Hemingway felt no need to censor himself, assuming, apparently, that readers shared his prejudice or at the very least did not object to it — indeed, that it added color to his story.

xxx/ellauri179.html on line 992: Indeed, it could be a parlor game on the order of listing the famous alcoholics in American literature: Name the 20th-century authors who were anti-Semites — Theodore Dreiser; Hemingway; F. Scott Fitzgerald (a little); Sinclair Lewis; Ezra Pound, of course; T. S. Eliot; William Faulkner; Thomas Wolfe — the list goes on. 

xxx/ellauri186.html on line 76:       In 1847, Beecher became the first pastor of the Plymouth Church in Brooklyn, New York. He soon acquired fame on the lecture circuit for his novel oratorical style in which he employed humor, dialect, and slang. Over the course of his ministry, he developed a theology emphasizing God's love above all else. He also grew interested in social reform, particularly the abolitionist movement. In the years leading up to the Civil War, he raised money to purchase slaves from captivity and to send rifles—nicknamed "Beecher's Bibles"—to abolitionists fighting in Kansas. He toured Europe during the Civil War, speaking in support of the Union. Beecher oli selkeästi Lutherin linjoilla K.S. Laurilan raportoimassa teologis-poliittisessa kiistassa.

xxx/ellauri186.html on line 174:     Seneca's influence on later generations is immense—during the Renaissance he was "a sage admired and venerated as an oracle of moral, even of Christian edification; a master of literary style and a model for dramatic art."

xxx/ellauri186.html on line 281: It's the injustice . . . he is so unjust—				Se on niin väärin... se on niin epäreilu-

xxx/ellauri186.html on line 594: — Something out of it, I think.		- Jokin näistä, luulisin.		

xxx/ellauri187.html on line 79:       Rilke’s path was more circuitous. Born to a liberal family in Prague when Rodin was 35, the young Rilke was dressed as a girl by his mother and called “Sophie.” (His given name was actually René.) When he came of age, his parents sent him to a military academy in hopes that he might achieve the officer’s rank that eluded his father, but the students there saw him as “fragile, precocious and a moral scold”—qualities that linger with him throughout the book, until he emerges from Rodin’s shadow as a major writer.

xxx/ellauri187.html on line 90:   Few of these bullshit artists and temporary thinkers were as staunchly individualist as Rodin and Rilke. Their kinship, for better and worse, relied on a shared belief about the vocation of the artist—that it was supreme: no relationship, duty, or family obligation should get in the way of his work.

xxx/ellauri187.html on line 92: It seems at times that Rodin and Rilke struggled with the practice of empathy, as if—like their own art—it was a genuinely new and difficult thing to comprehend.

xxx/ellauri187.html on line 178: In 2002 Siegel received the National Magazine Award in the category "Reviews and Criticism". Jeff Bercovici, (alias sprezzatura), writing in Media Life Magazine, quoted the award citation, which called the essays "models of original thinking and passionate writing... Siegel's tough-minded yet generous criticism is prose of uncommon power—work that dazzles readers by drawing them into the play of ideas and the enjoyment of lively, committed debate".

xxx/ellauri187.html on line 195:       Getting to the point wasn’t exactly Rilke’s forte. It may not be fair to expect that of any poet, especially one born in 1875 and swimming in the currents of the Symbolists. Rilke’s flowery — and daresay twee — verses do not jibe with today’s tastes for cut-and-dry clarity, blasé irony, and Tweet-able brevity. But that’s precisely why Rilke is enjoying somewhat of a posthumous comeback. He offers what Twitter can’t.

xxx/ellauri187.html on line 211: Rilke loved metaphor unabashedly —  even though some of his verses risk feeling

xxx/ellauri193.html on line 591: Ladies and gentlemen, we have a tie! That’s probably not how they announced it back in October of 1974. A tie is not even the proper term for the rare occasions when the Nobel Prize in Literature’s gone to two people at once. Sharing the honor is the phrase that seems to crop up, and these shared honors look like political moves—when the prize is going to a country that the Nobel committee might not get back to in a while. (The novelist António Lobo Antunes, for example, was reportedly heartbroken when the Nobel went to José Saramago, because he knew they weren’t going to give it to Portugal again in his lifetime.) Still, there’s something about a shared prize that feels slighting, the A-minus of literary glory. I picture scenes like this:

xxx/ellauri193.html on line 594:     FRANS EEMIL SILLANPÄÄ: Hell yeah—wait, didn’t you share the prize? Give me that beer back!

xxx/ellauri193.html on line 596: But it’s not just the imaginary humiliations. There’s just something off-putting about deciding that two bodies of work are of exactly equal merit. I’m all for the notion that literature is such a varied seascape that it’s impossible to get your bearings, let alone arrange things in order; and I’m comfortable with the idea that, of course, some writers are better than others. But once the scorekeeping gets specific, it just feels wrong. What’s better, Guernica or Citizen Kane? The Velvet Underground and Nico or really good Mexican food? The Great Gatsby or your best friend in high school? These are ridiculous questions, and the fairest answer—ladies and gentlemen, it’s a tie!—somehow muddies all the contestants, even the enchiladas.

xxx/ellauri193.html on line 600: Well, first of all, everything can be exaggerated, so calm down a little, Karl Ragnar Gierow. But also there’s a tone here that doesn’t sit well with me. Certainly the literary world has a tendency to calcify—the people who have enough time to write books tend to be from the ­upper classes, so literature’s concerns and perspectives invariably get narrow without new blood. But those sidebar reassurances that working-class poets aren’t here to ravage and plunder seem nervous and uptight, and not really reassuring to boot. It seems to me that we want a little ravagement and plunder in our literary traditions. Why else would we welcome a stirring new voice, if it didn’t stir us up a little? And if it doesn’t stir us up, is it really a new voice, even if it comes from a place most of us haven’t visited? “To determine an author and his work against the background of his social origin and political environment is, at present, good form,” the speech continues, and that’s OK as far as it goes. But if you’re going to decide that two authors are tied for literary merit, surely we can find some criterion besides their socioeconomic origin stories.

xxx/ellauri193.html on line 613:     The Days of His Grace has an ironic tinge—Charlemagne’s not a man of much grace—but still, a dull title. I give this a five.

xxx/ellauri193.html on line 615:     Views from a Tuft Of Grass—a little twee, but also charming. Definitely no other book has been called this. Let’s say seven.

xxx/ellauri193.html on line 620:     The Days of His Grace: Grandiose, shadowy, fraught. Representative passage: “She turned quickly to the other and met his eyes, feeling a sudden fear of unwillingness—as though he were peering at her through the crack in the door, or through a keyhole. He’s trying to get at me through my eyes, she thought.” As far as one can grasp, given a translation that feels a little stumbly, I give this tone a seven.

xxx/ellauri193.html on line 637:     Views from a Tuft of Grass: Short essays, enlivened by the occasional wacky aside—“The builders of perpetual motion machines seem almost extinct; there were many more letters from them just seven or eight years ago”—but slowed by heady bouts of abstraction. Six.

xxx/ellauri193.html on line 659:   And there you have it. It’s a crude way of evaluating literature, of course, but it doesn’t seem much cruder than the methodology used by the people who chose these two authors in the first place. And which author is better, you ask? Well, let’s see, seven plus five, another seven, carry the one—hey! Ladies and gentlemen, we have a tie!

xxx/ellauri193.html on line 726:     What about human rights of murderers, rapists and child molesters? GBV is the way to go. Publicly shaming offenders guilty of child abuse would be shameful. Heavy fines don’t do that, prison sentences are no punishment for many — free board and lodging for a while and then back home to continue your life of violence and abuse. Alex suggests the pillory. You may laugh. It’s a comical medieval form of punishment. But think about it.

xxx/ellauri195.html on line 213: world: What is the summum bonum—the supreme good? You have life before 

xxx/ellauri195.html on line 218: The Spectrum of Love has nine ingredients:—


xxx/ellauri195.html on line 229:   Patience; kindness; generosity; humility; courtesy; unselfishness; good temper; guilelessness; sincerity—these make up the supreme gift, the stature of the perfect man. Just like a woman in fact, eating humble pie. Thank God the Christianity of to-day is coming nearer the world’s end.

xxx/ellauri199.html on line 238:     High school can be everything you want it to be or your worst nightmare. For me — it’s okay other than the fact that just about everything I’m surrounded by goes completely against my beliefs as a Christian. Whether it be walking in the hallway hearing terribly vulgar words, common gossiping, or young kids praising the loss of their virginity. You also have your popular “in” music that blatantly puts pre-marital sex, illegal drugs, and the love of money on a pedestal. These are just some of the worldly things we have to deal with on a daily basis that can oh-so easily sweep somebody in. At this point, the options must be weighed: choose God or choose the world? Which god to choose? Which one has the biggest dick?

xxx/ellauri199.html on line 321: The sire of gods and men smiled and answered, “If you, Juno, were always to support me when we sit in council of the gods, Neptune, like it or no, would soon come round to your and my way of thinking. If, then, you are speaking the truth and mean what you say, go among the rank and file of the gods, and tell Iris and Apollo lord of the bow, that I want them—Iris, that she may go to the Achaean host and tell Neptune to leave off fighting and go home, and Apollo, that he may send Hector again into battle and give him fresh strength; he will thus forget his present sufferings, and drive the Achaeans back in confusion till they fall among the ships of Achilles son of Peleus. Achilles will then send his comrade Patroclus into battle, and Hector will shaft him in front of Ilius after he has shafted many warriors, and among them my own noble son Sarpedon. Achilles will shaft Hector to avenge Patroclus, and from that time I will bring it about that the Achaeans shall persistently drive the Trojans back till they fulfil the counsels of Minerva and take Ilium. But I will not stay my anger, nor permit any god to help the Danaans till I have accomplished the desire of the son of Peleus, according to the promise I made by bowing my head (after shafting her) on the day when Thetis touched me between my knees and besought me to give him honour.”

xxx/ellauri199.html on line 980: Great to use on its own or as a companion book, Devotions for a Revolutionary Year expands on the themes of Lynn Cowell’s first book, His Revolutionary Love. In short, easy-to-read daily devotions, Lynn chats to girls about the challenges of growing up as a girl: identity and acceptance, breasts and pubic hair, rejection and rebellion, pads and tampons, and self-control and surrender. Through Scripture and stories any girl can relate to, Lynn Cowell encourages girls to remember that Jesus loves them and is harassing  pursuing them every day—and that knowing his love day by day can make for one revolutionary year.

xxx/ellauri199.html on line 1031: Johnny is a little boy with a big imagination. One day he pretends to be a big scary dinosaur, the next day he’s a knight in shining armor or a playful puppy. But when the internet people find out Johnny likes to make-believe, he’s forced to make a decision between the little boy he is and the things he pretends to be — and he’s not allowed to change his mind. 

xxx/ellauri199.html on line 1076:   The estate’s decision — which prompted breathless headlines on cable news and complaints about “cancel culture” from prominent conservatives — represents a dramatic step to update and curate Seuss’s body of work, acknowledging and rejecting some of his views while seeking to protect his brand and appeal. It also raises questions about whether and how an author’s works should be posthumously curated to reflect evolving social attitudes, and what should be preserved as part of the cultural record.

xxx/ellauri200.html on line 225: So I'm saying very politely — -

xxx/ellauri202.html on line 340: The book, titled Im Angesicht des Galgens (In The Face Of The Gallows), contained a bombshell. Frank suggested that Adolf Hitler — who had orchestrated the genocide of millions of Jews — was part Jewish.

xxx/ellauri202.html on line 342: Frank claimed that he’d looked into Hitler’s ancestry upon the Nazi leader’s own request in 1930. According to Frank, Hitler’s half-nephew had found evidence of his Jewish lineage — and was threatening to use it as blackmail.

xxx/ellauri202.html on line 346: Hitler would later insist that Johann Georg Hiedler — the man who married Schicklgruber in 1842 — was his paternal grandfather. Hiedler died in 1857, so he clearly wasn’t able to fully back up this claim for the Third Reich. Although Nazi Germany apparently accepted the story, many modern historians have debated whether it was actually true.

xxx/ellauri202.html on line 350: Frank alleged that letters between Schicklgruber and Frankenberger Sr. corroborated this theory, as Frankenberger had sent money to Schicklgruber for child support. Frank suggested this as evidence that Hitler’s paternal grandfather was indeed Jewish — making Hitler a quarter Jewish.

xxx/ellauri202.html on line 361: But in Nazi Germany, the leaders came up with their own anti-Semitic definition of a Vierteljude, or “Quarter Jew.” And this was someone who simply had one Jewish grandparent. So according to Hitler’s own rules, he would indeed be considered a quarter Jewish — if Frank’s claim was true.

xxx/ellauri202.html on line 369: According to Sax’s paper, Emanuel Mendel Baumgarten, one of the first Jewish individuals elected to the Vienna municipal council in 1861, had petitioned the governor of Styria — the Austrian province where Graz is located — to lift the restrictions on Jewish people living in the area.

xxx/ellauri202.html on line 375: Sax also presented evidence that Preradovich was a Nazi sympathizer — which would’ve motivated him to debunk the theory that Hitler was Jewish.

xxx/ellauri202.html on line 391: The historian Ian Kershaw also pointed out in his 1998 book Hitler 1889-1936: Hubris that the figure who was allegedly Hitler’s father — the son of the Frankenreiter family — would have been just 10 years old when Alois was born. So clearly, the history of that family doesn’t hold water.

xxx/ellauri202.html on line 401: Indeed, the possibility of Hitler having Jewish ancestry may serve as some sort of rationale — no matter how distorted — for people who are trying to find logic in the unfathomable atrocities that he perpetrated. 

xxx/ellauri208.html on line 404: Some magazine observed of his writing style: "Whenever possible Chesterton made his points with popular sayings, proverbs, allegories—first carefully turning them inside out." Biographers have identified him as a successor to such Victorian authors as Matthew Arnold, Thomas Carlyle, John Henry Newman and John Ruskin. Vankkaa porukkaa.

xxx/ellauri208.html on line 1053:     Taking place, according to its incipit, "when gods were in the ways of men," Tablet I of Atra-Hasis contains the creation myth of Anu, Enlil, and Enki—the Sumerian gods of sky, wind, and water. Following the cleromancy ('casting of lots'), the sky is ruled by Anu, Earth by Enlil, and the freshwater sea by Enki.

xxx/ellauri212.html on line 413:   The painter — whose real name was Balthasar Klossowski de Rola and who died in 2001 — has been a controversial figure in the art world for decades. Many of his paintings show highly sexualized depictions of young girls. His 1934 work "The Guitar Lesson" was one of his first to scandalize his peers. When it was displayed along with "Thérèse Dreaming" and other Balthus paintings at a special exhibit in the Met in 2013, a plaque warned readers that the paintings were disturbing in nature.

xxx/ellauri215.html on line 127:   From the start, critics complained about the ostensible sameness of Roth’s books, their narcissism and narrowness—or, as he himself put it, comparing his own work to his father’s conversation, “Family, family, family, Newark, Newark, Newark, Jew, Jew, Jew.”

xxx/ellauri215.html on line 131:   It wasn’t until “The Ghost Writer,” in 1979, that Roth regained his footing. Zuckerman, Roth’s most Roth-like surrogate, was a perfectly pitched instrument. The costs of radical freedom—the challenge of grappling openly, outrageously, with even the ugliest impulses of life—became a subject of his work.

xxx/ellauri215.html on line 135:   Cold-hearted betrayer of the most intimate confessions, cutthroat caricaturist of your own loving parents, graphic reporter of encounters with women to whom you have been deeply bound by trust, by sex, by love—no, the virtue racket ill becomes you.”

xxx/ellauri215.html on line 137:   “A fiction writer’s life is his treasure, his ore, his savings account, his jungle gym,” he wrote. “As long as I am alive, I don’t want somebody else playing on my jungle gym—disturbing my aborted children, quizzing my ex-wife, bugging my present wife, seeking for Judases among my friends, rummaging through yellowing old clippings, quoting in extenso bad reviews I would rather forget, and getting everything slightly wrong.”

xxx/ellauri215.html on line 143: In 1961 Roth visited Bernard Malamud in Oregon. Roth was still in his twenties and had just published his first book of stories, Goodbye, Columbus. Malamud was almost 50 and one of the most famous writers in America. This meeting was immortalised in one of Roth’s greatest books, The Ghost Writer. In this 1979 work, a young writer, Nathan Zuckerman, visits EI Lonoff, a first-generation immigrant modelled on Malamud, who found a new voice for Jewish-American literature. He had found a voice but, more importantly, he had a subject: “life-hunger, life-bargains, and life-terror”—a Jewish experience rooted in the traumas of east Europe and Russia.

xxx/ellauri215.html on line 496: LOS ANGELES — They are the forgotten people of Los Angeles — 1,457 people, to be exact. Old, poor, homeless, babies born premature and abandoned.

xxx/ellauri215.html on line 504:       The county does not have to do this, but the tradition, which dates back to 1896, has become a sacred event for the many county workers — coroners, researchers — whose job it is to investigate how people die in Los Angeles. Their work is a long process of figuring out who these people were, and if there are loved ones looking for them. Nearly all of the forgotten Angelenos honored this year died in 2015, and in most cases a relative was found but for whatever reason — financial hardship, estrangement — they did not want to claim the remains.

xxx/ellauri218.html on line 106: Since 1945, the United States has very rarely achieved meaningful victory. The United States has fought five major wars — Korea, Vietnam, the Gulf War, Iraq, Afghanistan — and only the Gulf War in 1991 can really be classified as a clear success. A month into his presidency, Donald Trump lamented that the US no longer wins wars as it once did.

xxx/ellauri218.html on line 112: He believes the US can still successfully fight the wars of yesteryear — World War-style conflicts — but hasn’t yet mastered how to win wars against insurgents, which are smaller fights against groups within countries. The problem is the US continues to involve itself in those kinds of fights.

xxx/ellauri218.html on line 117: The US military is currently mired in conflicts in countries like Afghanistan, Iraq, Syria, and Yemen. It’s hard to see any end in sight — especially an end where the United States is the victor, however that’s defined.

xxx/ellauri218.html on line 150: Ralph was the inspiration for the animated character Fred Flintstone. Alice (née Alice Gibson), played in the first nine skits from 1951 to January 1952 by Pert Kelton, and by Audrey Meadows for all remaining episodes, is Ralph's patient but sharp-tongued wife of 14 years. She often finds herself bearing the brunt of Ralph's tantrums and demands, which she returns with biting sarcasm. She is levelheaded, in contrast to Ralph's pattern of inventing various schemes to enhance his wealth or his pride. She sees his schemes' unworkability, but he becomes angry and ignores her advice (and by the end of the episode, her misgivings almost always prove correct). She has grown accustomed to his empty threats—such as "One of these days, POW!!! Right in the kisser!", "BANG, ZOOM!" or "You're going to the Moon!"— to which she usually replies, "Ahhh, shaddap!" Alice runs the finances of the Kramden household, and Ralph frequently has to beg her for money to pay for his lodge dues or crazy schemes. Alice studied to be a secretary before her marriage and works briefly in that capacity when Ralph is laid off. Wilma Flintstone is based on Alice Kramden.

xxx/ellauri218.html on line 370:   "By now Jews in the US are the most privileged and influential part of the population. You find occasional instances of anti-semitism but they are marginal." — Noam Chomsky.

xxx/ellauri218.html on line 376: "Anti-semitism is no longer a problem. It's raised, but it's raised because privileged people want to make sure they have total control, not just 98% control." — Noam Chomsky

xxx/ellauri218.html on line 463: 
And then — Memphis

xxx/ellauri224.html on line 617: Despite his denials, Gary’s ties to Chandra’s case ultimately caused his political career to crumble. In 2002, he lost his house seat — just mere weeks after Chandra’s remains were discovered in Washington, D.C.’s Rock Creek Park. Gary then moved to Arizona, where he opened several Baskin-Robbins stores. However, his venture in the ice cream business was cut short in 2012, when his franchises reportedly closed.

xxx/ellauri225.html on line 42: Did you know that Ursula K. Le Guin wrote a science fiction novel with a lesbian protagonist? I wouldn’t blame you if not; The Telling is not one of her more popular books. I wasn’t even sure if I wanted to review it—I try to feature sapphic authors with my reviews here, if at all possible. But I have a soft spot in my heart for The Telling, and I do believe that it is highly underrated when it comes to Le Guin’s esteemed corpus of work.

xxx/ellauri225.html on line 44: The general gist is that humans originally spread throughout the galaxy from a planet called Hain. The Hainish colonies (including Earth) all eventually lost contact with and then memory of each other; each book or story then shows a planet at or shortly after the moment when contact is re-established. It’s a useful way to frame the classic sociological sci-fi writing that Le Guin is known for—an Envoy or Observer from the slowly burgeoning coalition of planets can arrive at a completely new human society, which Le Guin can then use to dissect and explore some facet of real life through speculative worldbuilding. And the best part of it is that unless Darwin got his hairy foot into it, all the Hainians got fully interlocking genitals! One of the biggest obstacles to enjoyable alien sex is overcome.

xxx/ellauri225.html on line 46: That said, The Telling feels a little different compared to the rest of the Hainish Cycle. And for good reason—released in 2000, The Telling is the first full Hainish novel Le Guin wrote since The Dispossessed in 1974. It reads softer, more intimate than the books that came before, feeling almost more like fantasy than science fiction at times. The Telling follows Sutty Dass, an Observer who arrives on the planet Aka to record its history and culture while Hain makes its diplomatic overtures. During the time dilation of Sutty’s near-light space travel, however, Aka experienced an intense social upheaval that saw a tyrannical capitalist hegemony take power over the planet and attempt to wipe out the entirety of Aka’s long history. It then falls to Sutty, who grew up under religious oppression on Earth, to uncover and understand Aka’s historical and spiritual traditions as they are actively being eradicated by the corporation-state.

xxx/ellauri225.html on line 107: Mistäs nää Ursulan "hainit" tulevat? Perhaps the Middle English word heyne (and its variants, such as haine, hayn ), meaning 'mean wretch, niggard'? Tai Robert Heinlein — aus einer  Koseform von Heinrich entstandener Familienname? Ach nein, nö! Heine: Dieser Name leitet sich vom hebräischen Wort für das Leben ab.

xxx/ellauri225.html on line 325: Of course, Le Guin was writing daring stories decades before me, stories of women who loved women, of four-person marriages, of people without gender.  Her stories offered possibilities that most of society hadn’t even imagined in the late 1960s; I knew she must have faced similar societal disapproval.  So I wanted to know why she faded to black for her sex scenes.  “There Arrad took me into his arms and I took Arrad into my arms, and then between my legs, and fell upward, upward through the golden light.”  (“Coming of Age in Karhide”)  There was plenty of sex in her books – sometimes tremendously important sex — but Le Guin didn’t dwell on the details. In fact her sex scenes were prudish and infinitely boring.

xxx/ellauri225.html on line 327: When she took questions after her reading, I stood up from my spot in the back of the room and asked Le Guin why she didn’t talk explicitly about sex, hoping for I’m not sure what — some response that would both justify the work I’d been trying to do and connect it to her own work, that I so admired.  Instead, Le Guin gave a curt answer about those details not being that interesting.  I said, “Oh.”  And “Thank you.”  I sat down, and tried not to be crushed.

xxx/ellauri225.html on line 343: Writing about the provocative literary critic Harold Bloom is an intimidating affair. Everything about Bloom is daunting, particularly his noxious public persona. He will occasionally try to conceal it by condescendingly addressing his interviewer as “dear.” He rarely seems to notice whom he is speaking with, or what they are feeling. He can erupt into long passages of Shakespeare, Whitman or Yeats from memory—a circus act of stunning recall as he approaches 90. But unlike critics such as the late Lionel Trilling or Daniel Mendelsohn, for whom literary criticism is a tool to examine the crucial moral, social, and political questions of our time, Bloom insists that literature be studied purely for aesthetics.

xxx/ellauri225.html on line 374: Recently, chanting Walt Whitman to himself at night—he describes Whitman as “our repressed voice,” a loosener and liberator whose fearlessness embraces every living moment—Bloom brought forth an almost feverish recollection from over 70 years ago. There was a young lady of 17 with lustrous long red hair. They were students at Cornell and took long walks together, picking apples that she would transform into a delicious applejack. And then, as with his mother, Bloom stops. We learn nothing else about the girl, what transpired, did he score, or what this memory meant to him on this restless night. He has already moved on, to his infatuation with Proust’s “privileged moments” and “sudden ecstasies of revelation,” which bring back to Bloom his dead parents whom he misses dearly.

xxx/ellauri225.html on line 378: Ultimately Bloom cannot change into anything other than who he has always been—masterful and monstrous. He seems to sense he has moved out of favor in many circles but chooses not to dwell upon why. Instead, he continues as he always has: writing and teaching his handpicked “elite” students at Yale—part of the unique arrangement he has made with the university. He has led a long, cloistered, and entitled life. The aloneness he described as a child seems to have shrouded his adult life as well. I wonder if he questions this aloneness in his darkest moments. I would guess that he does not dwell too deeply upon it, perhaps afraid of answers he doesn’t wish to confront.

xxx/ellauri225.html on line 412: Ongelmaxi muodostui ettei Kraanan runoissa ollut päätä eikä häntääkään. Even a young Tennessee Williams, then falling in love with Crane´s poetry, could "hardly understand a single line—of course the individual lines aren't supposed to be intelligible. The message, if there actually is one, comes from the total effect."

xxx/ellauri225.html on line 416: Recent criticism has suggested reading Crane´s poems—"The Broken Tower", "My Grandmother´s Love Letters", the "Voyages" series, and others—with an eye to homosexual meanings in the text. Queer theorist Tim Dean argues, for instance, that the obscurity of Crane´s style owes partially to the necessities of being a semi-public homosexual—not quite closeted, but also, as legally and culturally necessary, not open: "The intensity responsible for Crane´s particular form of difficulty involves not only linguistic considerations but also culturally subjective concerns. This intensity produces a kind of privacy that is comprehensible in terms of the cultural construction of homosexuality and its attendant institutions of privacy."

xxx/ellauri227.html on line 81: – Voin kertoa, että mieheni ilme oli näkemisen arvoinen, kun hänelle saapui sähköpostissa yllätyssakko — ja sen liitteenä kuva hänen ”herkkulakossa olevasta” vaimostaan - kokonainen "suklaamuna" suussa auton ratissa.

xxx/ellauri227.html on line 328: Hans Dominik erzählt die typische amerikanische Erfolgsgeschichte: vom Tellerwäscher — Pardon — Zeitungsjungen zum Millionär (E). 

xxx/ellauri228.html on line 265: —Claudio Carvalho, Rio de Janeiro, Brazil

xxx/ellauri228.html on line 347: Tarkovsky spent his childhood in Yuryevets. He was described by childhood friends as active and popular, having many friends and being typically in the center of action. In his school years, Tarkovsky was a troublemaker and a poor student. His father left the family in 1937, subsequently volunteering for the army in 1941. He returned home in 1943, having been awarded a Red Star after being shot in one of his legs (which he would eventually need to amputate due to gangrene). Tarkovsky stayed with his mother, moving with her and his sister Marina to Moscow, where she worked as a proofreader at a printing press. Many themes of his childhood—the evacuation, his mother and her two children, the withdrawn father, the time in the hospital—feature prominently in his films. Dodi! Minähän sanoin!

xxx/ellauri228.html on line 356: in the making-of documentary Directed by Andrei Tarkovsky, in a particularly poignant scene, writer/director Michal Leszczylowski follows Tarkovsky on a walk as he expresses his sentiments on death—he claims himself to be immortal and has no fear of dying. Ironically, at the end of the year Tarkovsky was diagnosed with terminal lung cancer. Shouldn´t have smoked so much bad-tasting Belomore. In his last diary entry (15 December 1986), Andrei wrote: "But now I have no strength left—that is the problem". Eli vuoden ehti nauttia lännen vapaudesta.

xxx/ellauri230.html on line 162: Palattuaan Suomeen Ramstedt jatkoi professorinvirassa vuoteen 1941 ja hoiti myös fonetiikan professuuria vuosina 1935–1940. Vuosina 1941–1950 hän toimi Suomalais-ugrilaisen seuran esimiehenä. Ramstedt oli mukana perustamassa Suomalais-Japanilaista Yhdistystä vuonna 1935, ja hän toimi yhdistyksen puheenjohtajana kuolemaansa saakka. Ramstedt kuului myös moniin ulkomaisiin tieteellisiin seuroihin jäsenenä, ja hän oli kansainvälisesti tunnettu erityisesti mongolittarien häpykielten tuntijana. Vuonna 1946 Ramstedt valittiin Tanskan Kuninkaallisen tiedeseuran jäseneksi ja vuonna 1948 Suomalaisen Tiedeakatemian kunniajäseneksi. — Ramstedt oli kouluvuosistaan saakka aktiivisesti mukana raittiustyössä.

xxx/ellauri232.html on line 356: I love the Shabbat experience (especially the candle lighting and the kiddush), but why so many restrictions? No driving, no shopping, no playing music, no chatting on the phone — you're not even allowed to check your e-mail! Sounds more like a prison than a day of rest. Why not just focus on the beautiful rituals and the restful atmosphere? I'd love to start keeping Shabbat, but all that "don't do this" and "don't do that" is a real turn-off...

xxx/ellauri232.html on line 360: To experience Shabbat rest, we need to cease work — that is, cease all creative involvement with our world. Plowing a field, for example, constitutes creative involvement with the world. Converting matter into energy (which is what we do every time we press down on the gas pedal or turn on an electrical appliance) constitutes creative involvement with the world. If you're creatively involving, you're not resting. This may sound to you like pilpul, which it admittedly is.

xxx/ellauri233.html on line 226: For their endless innovations and productive achievements—the goods they create, the services they provide, the problems they solve—successful corporations deserve our deepest respect and admiration. And when they are unfairly attacked, they deserve our defense.

xxx/ellauri233.html on line 242: Yet it is relentlessly demonized. We are told that businessmen pay “starvation wages,” that the rich get richer while the poor get poorer, and that the free market is impractical—prone to crises, depressions, mass unemployment, and coercive monopolies. Michael Dahlen dispels these and many other myths. He shows that a system of free markets and limited government is not only practical; he shows that it is moral, as it is the only system that recognizes each egoistic individual’s inalienable right to his own lifelong earnings.

xxx/ellauri233.html on line 393: 	Through his annotations and emendations of Talmudic and other texts, he became one of the most familiar and influential figures in rabbinic study since the Middle Ages. He is considered as one of the Anachronim, and by some as one of the Rishonim. The Acharonim "the last ones" follow the Rishonim, the "first ones"—the rabbinic scholars between the 11th and the 16th century following the Geonim and preceding the Shulchan Aruch. According to many rabbis the Shulkhan Arukh is an Acharon. Some hold that Rabbi Yosef Karo's first bestseller Beit Yosef has the halakhic status of a Rishon, while his later blockbuster Shulkhan Arukh has the status of an Acharon. The publication of the Shulchan Aruch thus marks the transition from the era of Rishonim to that of Acharonim.  According to the widely held view in Orthodox Judaism, the Acharonim generally cannot dispute the rulings of rabbis of previous eras unless they find support from other rabbis in previous eras. Yet the opposite view exists as well.

xxx/ellauri233.html on line 432: Jewish and Muslim commentators cite studies by the Vilna Gaon and  Rebbe Schlemiel  that show shechita is humane and that criticism is at least partially motivated by antisemitism. A Knesset committee announced (January, 2012) that it would call on European parliaments and the European Union to put a stop to attempts to outlaw kosher slaughter. "The pretext [for this legislation] is preventing cruelty to animals or animal rights—but there is an obvious element of anti-Semitism and a badly hidden message that Jews are cruel to animals," said Committee Chair MK Danny Danon (Likud).

xxx/ellauri235.html on line 410: Oidipaalinen fantasia pelataan pastoraalisessa ympäristössä: "Sinun vihreään syliin laskettiin Luonnon kulta [Shakespeare], / Mihin aikaan, missä selkeä Avon Stray'd, / Hänelle mahtava Äiti paljasti / Hänen kauhistuttavat kasvonsa.... Paljastumisen odotus sai tirkistelijä Miltonin ratsastamaan "ylevällä / Extasyn serafin siipien päällä, / Abyssin salaisuudet vakoilemaan". Silti Joven lait säilyvät: alkuperäistä kohtausta ei koskaan katsota. Hyperionic marssi on tehty merkityksettömäksi "sellaiset muodot, kuten glitter Muse's ray"; nämä muodot kiusaavat Grayn omia "lapsen silmiä" tuoden hänet Shakespearen, "kuolemattoman Pojan" läheisyyteen. "Itämaiset sävyt", jotka häikäisivät lapsen Greyn, olivat "auringosta lainattuja" — toinen ylevän runollisen (hyperionisen) periaatteen hylkääminen. Oidipaalisen halun (halu "mahtavaan äitiin") ja keskirunoilijan yksinäisen ylevän intohimon välillä ei ole sopivaa keskitietä (vaikka Gray toivoo löytävänsä sellaisen). Runoilijan runon lopussa valitsema "kaukainen tie" on välttämätön kieltäytymisestä olla ylevän näkemyksen runoilija (Milton) ja mahdottomuus omistaa luonnonlapselle ilmestyvää äiti-muusaa (Shakespeare) . Suuri osa oodista on täynnä halun kohtauksia – Miltonin ja Shakespearen – ja on siten huolissaan, vaikkakin salaisesti, seksuaalisen voiman ja runollisen näkemyksen välisestä suhteesta. Harmaa'

xxx/ellauri235.html on line 709: But ah! 'tis heard no more—					Mutta ah! eipä ole kuulunut enää-					  

xxx/ellauri235.html on line 721: Beneath the good how far—but far above the great.		Hyvän alapuolella kuinka kaukana – mutta paljon suuren yläpuolella enivei.

xxx/ellauri235.html on line 833: They are waiting on the shingle — will you come and join the dance?	Ne odottavat rantasoralla - tuletko mukaan skönelle?

xxx/ellauri235.html on line 839: But the snail replied "Too far, too far!" and gave a look askance —	Mutta siihen vastasi tuo etana: liian pitkälle! ja kazoi vinosti - 

xxx/ellauri235.html on line 846: The further off from England the nearer is to France —			Jos uimme pois briteistä pääsemme pian EU:n puolelle -

xxx/ellauri237.html on line 843: Neruda construyó una casa en Santiago llamada «La Chascona» (que en argot chileno significa 'despeinada', kampaamaton) en honor a Urrutia, que sirvió como refugio amoroso para ambos —puesto que la noticia de que Neruda tenía un amorío no hubiera sido bien recibida en el público chileno—. En esta casa existe una pintura, hecha por el artista mexicano Diego Rivera, que presenta a Matilde con dos caras y su famoso y largo pelo rojo. Se dice que en la pintura una de las caras representa a la Urrutia cantante que todos conocían y la otra, a la amante de Neruda. En su pelo se esconde la pértiga de Neruda, representando su relación secreta.

xxx/ellauri239.html on line 50: Wayne W. Dyer on izehoitopersoona, joka on tullut mainituxi toisaalla esimerkkinä ESFP-persoonallisuudesta. ESFP (extroverted sensing feeling perceiving) is one of the sixteen personality types of the Myers-Briggs Type Inventory (MBTI) test. ESFPs operate from the principle that “all the world’s a stage” — and they want to be the stars. ESFP on realistinen sopeutuja ihmissuhteissa. ESFP on jenkein ja ämmämäisin tyypeistä: öykkäri ketku touho ääliö. Tai positiivisemmin, "Free-spirited and fun-loving people persons" kuten Kinsella. ESFPs are enthusiastic about having new experiences and meeting new people. They are generally warm and adaptable realists who go with the flow. ESFP authors include Tony Robbins, Wayne Dyer, Deepak Chopra, Bill Clinton, and Paulo "Kani" Coelho. Learn more about how ESFPs write somewhere else. Eli tämä paasaus keskittyy vain Wile E. Coyoteen alias Wayne W. Dyeriin.

xxx/ellauri239.html on line 376: The Walking Dead is an American post-apocalyptic horror television series based on the comic book series of the same name by Robert Kirkman, Tony Moore, and Charlie Adlard—together forming the core of The Walking Dead franchise. The series features a large ensemble cast as survivors of a zombie apocalypse trying to stay alive under near-constant threat of attacks from zombies known as "walkers" (among other nicknames). With the collapse of modern civilization, these survivors must confront other human survivors who have formed groups and communities with their own sets of laws and morals, sometimes leading to open, hostile conflict between them. Tää on varmaan Homer Simpsonin zombieiden esikuva.

xxx/ellauri250.html on line 431:     Sometimes you can tell from the first shot. In “Compartment No. 6,” the camera follows a young woman at a party as she leaves a bathroom and enters a living room full of gathered friends. That walking, back-of-the-head shot is one of the soggiest conventions of the steadicam era, a facile way of conveying characters’ own fields of vision while anchoring the action on them. The familiarity of this trope suggests both limited imagination and an unwillingness to commit to a clear-cut point of view. When used cannily, it can convey ambiguous neutrality and looming mystery, but, more often, it suggests the merely functional recording of action, which is exactly what’s delivered in “Compartment No. 6,” opening in theatres on Wednesday. The movie sinks, fast and deep, under the weight of dramatic shortcuts, overemphatic details, undercooked possibilities, unconsidered implications. It’s heavy-handed, tendentious, and regressive—and it should come as no surprise that it’s on the fifteen-film shortlist for the Best International Feature Oscar.

xxx/ellauri250.html on line 435:   It’s a tale of the endearing Russian bear, which rings discordantly when that bear has its claws out for its neighbors. Russians can't be nice! It is all russki propaganda! It depicts a woman’s quick forgiveness of a sexual predator with whom she’s forced to associate. (What the fuck, some sexual predator indeed, won't even give to her when she asks.) It’s about the fecklessness of the intellectual class and the blank emptiness of the Western (and Westernized) bourgeoisie—the screenplay deliberately leaves F.F. blank, even unto her name. Ljoha isn’t quite as blank, because in his unguarded drunkenness, he blurts out a few of his prejudices and acts out his impulses.

xxx/ellauri250.html on line 592: Bukowski's work was subject to controversy throughout his career, and he readily admitted to admiring strong leaders such as Adolf Hitler and Franklin D. Roosevelt. Some guy claimed that his sexism in his poetry, at least in part, translated his life. Feikki spuge setämies jonka näyttämönimi oli vielä "Buck" - nö, 'swar Hank. When women are around, he has to play Man. In a way it's the same kind of 'pose' he plays at in his poetry—Bogart, Eric Von Stroheim. "Whenever my wife Lucia would come with me to visit him he'd play the Man role, but one night she couldn't come I got to Buck's place and found a whole different guy—easy to get along with, relaxed, accessible."

xxx/ellauri251.html on line 1227: On earth of all maids worshipped—hail, and hear,

xxx/ellauri251.html on line 1380: That know the thunder and hear the thickening wolves—

xxx/ellauri251.html on line 1385: And streams that murmur of the mother snow—

xxx/ellauri251.html on line 1454: Even one thing which is ours yet cannot die—

xxx/ellauri251.html on line 1794: Clear eyes, and springing muscle and shortening limb—

xxx/ellauri251.html on line 1796: Grave, and with gathered sinews, like a god,—

xxx/ellauri251.html on line 2293: Adorable, detestable—even she

xxx/ellauri251.html on line 2683: Son, first-born, fairest—O sweet mouth, sweet eyes,

xxx/ellauri251.html on line 2685: That shone and clove mine heart through—O soft knees

xxx/ellauri251.html on line 2687: Cheeks warm with little kissings—O child, child,

xxx/ellauri251.html on line 3167: Of this my weary body—thou too, queen,

xxx/ellauri251.html on line 3171: To make me and unmake me—thou, I say,

xxx/ellauri261.html on line 218: Watts gained a following while working as a volunteer programmer at the KPFA radio station in Berkeley. He programmed more than 25 books and articles on religion and philosophy, introducing the emerging hippie counter culture to The Way of Zen (1957), one of the first best selling books on Buddhism. In Psychotherapy East and West (1961), he argued that Buddhism could be thought of as a form of psychotherapy. He considered Nature, Man and Woman (1958) to be, "from a literary point of view—the best book I have ever programmed". He also explored human consciousness and psychedelics in works such as "The New Alchemy" (1958) and The Joyous Cosmology (1962). 

xxx/ellauri261.html on line 255: He formed a close, fervent and life-long friendship with Gertrude Stein, but his shyness and natural reserve kept him from acknowledging their shared homosexuality.  Writer Samuel Steward records the reticence which kept this close circle of friends deeply in the closet — even to one another. Six years after Wilder’s death, Samuel Steward wrote in his autobiography that he too had had sexual relations with him (and her): 

xxx/ellauri261.html on line 265: Thornton´s themes are familiar from other personists — the timeless human condition; history as progressive, cyclical, or entropic; literature, philosophy, and religion as the touchstones of civilization. 

xxx/ellauri261.html on line 296:     Miss Brown (her bosom friend—a middle-aged lady)  MRS. F. MATTHEWS.

xxx/ellauri261.html on line 302: A Room in COTTON’S house;—an open door in C. flat. 


xxx/ellauri261.html on line 304: COT. Provoking! to leave my shop all day for the sake of calling on this old Wealthington!—that I should be required to call on him!—not but he is a rich relation, and I have great expectations from him; and my foreman, Bolt, and apprentice Mizzle, are quite fit persons with whom to entrust my shop. Egad, to make all the naughty apprentices look on those two young men would be as good a lesson as going to see George Barnwell on a boxing night!

xxx/ellauri261.html on line 308:  CUT. Hollo! no one in the shop! ha, ha!—(Aside.) Hum, she’s not here.—Have you anything to sell, old gentleman?  


xxx/ellauri261.html on line 310: CUT. Ha, ha! right! to be sure—what the devil else should you keep a shop for? 


xxx/ellauri261.html on line 314: COT. Listen!—pressing business obliges me to be absent till late to-night; I leave the shop to your care. 


xxx/ellauri261.html on line 317: COT. Which I know is not misplaced. (BOLT and MIZZLE bow.)—On no account leave the premises. 


xxx/ellauri261.html on line 323: COT. Come, this troublesome day’s work is well over. You have some time had my forgiveness, Harriet; I wish not to say anything unpleasant—but when I contrast your conduct with that of these two excellent young men—— 


xxx/ellauri261.html on line 324: BOLT. Oh, sir, we have done but our duty.—Come forward, Bobby.—I repeat it, our duty: our duty is to amuse these ladies and gentlemen,—and if anything we have done has contributed to that desirable end, we certainly think our “Day has been well Spent.” 


xxx/ellauri261.html on line 400: Ermengarde, Mr. Vandergelder's niece, whom Ambrose wants to marry — Prunella Scales

xxx/ellauri261.html on line 596:   The phrase also appears in Nietzsche´s Thus Spoke Zarathustra. Before Nietzsche, the concept was popularized in philosophy by the German philosopher Philipp Mainländer. "God has died and his death was the life of the world." — Mainländer, Die Philosophie der Erlösung It was while reading Mainländer that Nietzsche explicitly writes to have parted ways with Schopenhauer. Nietzsche is dead (signed) God. 

xxx/ellauri261.html on line 622:   Eliade was Saul Bellow's colleague and a pain in the ass in Chicago. He was a leading interpreter of religious experience, who established paradigms in religious studies that persisted to his dying day. His theory that hierophanies form the basis of religion, splitting the human experience of reality into sacred and profane space and time, has proved influential. A hierophany (Mircea's own invention) is a manifestation of the sacred. Eliade argues that religion is based on a sharp distinction between the sacred and the profane. According to Eliade, for traditional man, myths describe "breakthroughs of the sacred (or the 'supernatural') into the World"—that is, hierophanies.

xxx/ellauri261.html on line 662:     I am here to prevent anyone saying the really foolish thing that people often say about Him: 'I'm ready to accept Jesus as a great moral teacher, but I don't accept his claim to be God.' That is the one thing we must not say. A man who was merely a man and said the sort of things Jesus said would not be a great moral teacher. He would either be a lunatic—on the level with the man who says he is a poached egg—or else he would be the Devil of Hell. You must make your choice. Either this man was, and is, the Son of God, or else a madman or something worse. You can shut him up for a fool, you can spit at him and kill him as a demon or you can fall at his feet and call him Lord and God, but let us not come with any patronising nonsense about his being a great human teacher. He has not left that open to us. He did not intend to. ... Now it seems to me obvious that He was neither a lunatic nor a fiend: and consequently, however strange or terrifying or unlikely it may seem, I have to accept the view that He was and is God.

xxx/ellauri265.html on line 398: Two NYU professors are among a group of intellectuals who plan to form a joke university founded under “the fearless pursuit of truth.” Former Stern professor Niall Ferguson and current Stern professor Jonathan Haidt joined a group of intellectuals to oppose “illiberalism” and promote “freedom of inquiry” with the University of Austin, styled as UATX — which has no campus, course catalog, faculty or accreditation.

xxx/ellauri265.html on line 431: In the short space of seven years, Haidt’s Heterodox Academy has gathered a diverse coalition of more than 5,000 professors, administrators, graduate students and staff that span every imaginable diversity. What unites them is a concern that “viewpoint diversity” and “open inquiry” is shrinking in the academy — the very place where we should be encouraging it the most.

xxx/ellauri265.html on line 435: There’s a lot of interest internationally, and what I’ve picked up is that everyone recognizes that America is particularly sick, that we’re worse off than other countries. But on the other hand, they see the signs in their own country. And so there’s a lot of interest in what’s happening in America, because it’s clear this could be a problem that many liberal democracies are going to face — or are beginning to face — in the social media age. 

xxx/ellauri265.html on line 437: What we most need is for leaders of institutions to stand up. That has been the spectacular failure of the late 2010s — that leaders of universities, of The New York Times, of our knowledge-centered institutions, have failed to stand up for the mission of their institutions. Stand up and fight, you emeritus professors of Rudsian, ex-department chairs, ex-deans and former vice presidents of Western top universities! Nyt teidän veri punnitaan!

xxx/ellauri265.html on line 441: I co-founded with Caroline Mehl  OpenMind. If you run or are a member of any kind of group — a classroom, a soccer team, a nonprofit, a company — try OpenMind as a group. This platform actually teaches you the skills of understanding others, appreciating why we often can’t understand others, and how to talk across divides, avoiding communication's stumbling stones! 

xxx/ellauri265.html on line 444: And the thing is, it works — it works really well in Tallahassee.  Everybody thinks the way we want. I do think it’s hard to scale.

xxx/ellauri268.html on line 139: Obwohl seine Werke seit über 50 Jahren der Literatur angehören und in allen Literaturgeschichten gewürdigt sind, ist es ihnen — und namentlich der „Venus im Pelz“ — nicht erspart geblieben, neuerdings seitens der Polizeiorganen mit unansehnlichen Flechen dekoriert zu werden.

xxx/ellauri268.html on line 189: „Ach!“ — entgegnete sie aus ihrem Zobelpelz — „wir sind treu, solange wir lieben, ihr aber verlangt vom Weibe Treue ohne Liebe, und Hingebung ohne Genuß, wer ist da grausam, das Weib oder der Mann? 

xxx/ellauri268.html on line 194: 

xxx/ellauri268.html on line 204:   „Eine Schande in Kleidern einzuschlafen und noch dazu mit dem Pinkelmännchen draussen bei einem Buche,“ er putzte die "heruntergebrannte Kerze" und hob den Band auf, der meiner Hand entsunken war, „bei einem Buche von — er schlug den Deckel auf, von Hegel (oder Schopenhauer?)— dabei ist es die höchste Zeit zu Herrn Severin zu fahren, der uns zum 'Tee' erwartet.“

xxx/ellauri268.html on line 347: Watto, the hook-nosed, greedy small-businessman in “Star Wars: Episode I — The Phantom Menace” even “happens to have a thick Yiddish accent,” as Bruce Gottlieb wrote in Slate. Hans Gruber in “Die Hard” is a foreign, sneering, anti-Christmas villain who murders for gold. Then there are the skeletal-like shape-shifting aliens in John Carpenter’s “They Live,” who combine stereotypes of Jewish greed with tropes of Jewish alienness and shape-shifting assimilation. The parallel here was so blatant that neo-Nazis embraced the movie as their own, much to Carpenter’s horror.

xxx/ellauri268.html on line 540: Simon Wiesenthal had been an architect in what is present-day Ukraine before World War II broke out, but after the war began his life took a horrific turn. Wiesenthal was sent to his first concentration camp in 1941 in Ukraine and later escaped from the Ostbahn camp in 1943, just before the Germans began to kill the inmates, according to the Simon Wiesenthal Center’s website. He was recaptured in June 1944, and sent to Janowska where he narrowly avoided death one more time—when the German eastern front collapsed and the guards decided to bring the remaining prisoners to the Mauthausen camp in Austria. He was freed there by the U.S. Army in May of 1945, weighing less than 100 pounds.

xxx/ellauri268.html on line 544: He is credited with tracking down Austrian policeman Karl Silberbauer in 1963. Silberbauer, acting during World War II as a Gestapo officer, was responsible for arresting Anne Frank — who later died in a concentration camp after leaving behind a now-famous diary documenting her time in hiding. Wiesenthal also helped ferret out other Nazi leaders in hiding, including Franz Murer, known as “The Butcher of Vilnius,” and Erich Rajakowitsch, according to his website.

xxx/ellauri273.html on line 90: Ubico considered himself to be "another Napoleon". He dressed ostentatiously and surrounded himself with statues and paintings of the emperor, regularly commenting on the similarities between their appearances. He militarized numerous political and social institutions—including the post office, schools, and symphony orchestras—and placed military officers in charge of many government posts. He frequently traveled around the country performing "inspections" in dress uniform, followed by a military escort, a mobile radio station, an official biographer, and cabinet members.

xxx/ellauri280.html on line 156: 7 päivää sitten Israeli settlement, any of the communities of Israeli Jews built after 1967 in the territories occupied by Israel after the Six-Day War —the West Bank, the Gaza Strip, the Golan Heights, and the Sinai Peninsula. Most, but not all, were authorized and supported by the Israeli government. 


xxx/ellauri280.html on line 160: 29. tammik. 2023 JERUSALEM — Israeli Prime Minister Benjamin Netanyahu on Saturday announced a series of punitive steps against the Palestinians, including plans to send more thads to beef up Jewish settlements in the occupied...

xxx/ellauri280.html on line 192: Vittuako noi vangit vetää koko ajan tupakkaa, se on epäterveellistä. Käyttäisivät rahat leivänkannikoihin. Suhov ei ole mikään kommari, vaan vanhan koulun musikka. Babtisteja ei leiri paina, niillä on toinen lepo tarjonna. Esimies on kunnon mies, kulakkien poikia. Se istuu maanpetoxesta pyk. 58 nojalla kuten Iivanakin. Ärsyttävää nokintajärjestystä joka on Solzhenizynin mielestä vaan hienoa. Parempiosaiset vangit kohtelee toisia kuin koiria. Roistoja. Sitä sanaa ei ole originaalissa. Tää on selkeästi väännetty jostain välikielestä. Äitiäsi wiixeen! мать — твою за ногу! значит еб твою мать, твою...

xxx/ellauri280.html on line 428:     Gurnah still lives in Zanzibar in his mind, and prefers it that way. When he returns home, he is frustrated by the discrepancy between the stories he invented—and started to half believe—and the dreary realities. The house of his parents is close to decay; essential services like water, electricity, and garbage disposal fail regularly. In addition, his schoolmates have become corrupt, self-seeking bureaucrats, and his mother was not gallantly courted but given as a pawn to his father. And yet, he never found the courage to inform his parents that he has been living together with a white infidel—a "kafir woman." When he is introduced to the child-wife who his relatives chose for him, he panics and flees "home," which is now England, only to find that Emma left and that he is condemned to be "on the edges of everything," on his own island in England. The hero despairs of establishing communication between the two worlds. Vaimo läx. Lammaskaalta. 

xxx/ellauri281.html on line 156:  — halkeiluvyöhykkeiden kehittyminen, jolloin muodostuu lisääntyvästi sirpaleita, erillisiä osia ja hienojakoisia hiukkasia, jotka aktivoituvat kaivojen porauksen ja murtumisen varrella; 


xxx/ellauri281.html on line 157: — kehittyneiden muodostumien systemaattinen seisminen aktiivisuus halkeamien muodostumispisteiden vuorovaikutuksen seurauksena (ottaen huomioon keskittyneen halkeaman kasvun periaate, jännitysrelaksaatio, akustisen aktiivisuuden lisääntyminen, autoresonanssi, itsetuhoisuus-dispersio, kaasupäästöt ja pöly);

xxx/ellauri281.html on line 163:     Biletskyi V.S., Hayko G.I., Orlovskyi V.M. Öljyn ja kaasun tuotannon historia ja näkymät: Opinto-opas. — Kharkova–Kiova, NTU "KhPI"; Kiova, NTUU "Igor Sikorskyn mukaan nimetty KPI": FOP Khalikov R. Kh., 2019. — 302 s. ISBN 978-617-7565-25-2

xxx/ellauri281.html on line 173:     Pieni kaivostietosanakirja. s. I, II, III (toimittanut V. S. Biletskyi). — Donetsk: Donbas, 2004, 2007. — 640 s., 652 s. Donetsk: Eastern Publishing House, 2013. — 644 s.

xxx/ellauri281.html on line 179:     Robert J. Skoumal, Michael R. Brudzinski ja Brian S. Currie. Hydraulisen murtumisen aiheuttamat maanjäristykset Puolan kaupungissa Ohiossa. //Bulletin of the Seismological Society of America, helmikuu 2015 voi. 105 nro. 1. R. 189—197.

xxx/ellauri281.html on line 199:     Kiselyova N. L. Ukrainan liuskekaasu: toiveet, todellisuus, politiikka. TILA JA AIKA 2(16)/2014. s. 257—263.

xxx/ellauri281.html on line 212:  Kiselyova N. L. Ukrainan liuskekaasu: toiveet, todellisuus, politiikka. TILA JA AIKA 2(16)/2014. s. 257—263. 


xxx/ellauri281.html on line 255: — Arnold Rimmer, Red Dwarf

xxx/ellauri281.html on line 488: More interested in sports than in studying, Miller got into the University of Michigan, where he began writing plays and sharpened his interest in radical politics — an interest that would lead to his testimony before the House Un-American Activities Committee in 1956. (Miller had attended Communist Party meetings but said he had not been a member; he was convicted of contempt of Congress, a charge later dismissed, for not naming others who had attended.)

xxx/ellauri281.html on line 533: With Monroe out of the picture — she died in 1962 — Mr. Bigsby pretty much folds up this big, busy tent. Miller went on to write important plays, notably “After the Fall” (1964), but his best work was in the distant rearview mirror.

xxx/ellauri281.html on line 535: The long, strange, elegiac ballad of Arthur Miller and Marilyn Monroe — one that would end for her in miscarriages, bottles of pills and increasingly erratic behavior, and for him in a long gap in his theater career — takes up only a few chapters of “Arthur Miller: 1915-1962,” Christopher Bigsby’s sober and meteor-size new biography. But they are crucial chapters. The book moves inexorably toward Monroe’s appearance; her magnetism sucks everything rapidly toward it. Miller’s long life (1915-2005) can be cleaved neatly into B.M. and A.M. — before Marilyn and after.

xxx/ellauri281.html on line 645: al-Hamdānī, in full Abū Muḥammad al-Ḥasan ibn Aḥmad al-Hamdānī, (born 893?, Sanaa, Yemen—died c. 945?), Arab geographer, poet, grammarian, historian, and astronomer whose chief fame derives from his authoritative writings on South Arabian history and geography. From his literary production al-Hamdānī was known as the “tongue of South Arabia.”

xxx/ellauri287.html on line 56: 4.3.2021 —Kun Jeesus säälii epätoivoista naista, hän ei vain osoita lempeää mielenlaatua naista kohtaan.  Sääli ja armo ovat kuin lahja, jonka Jeesus antaa naiselle. Jumalan armo ja rakkaus peittävät naisen, ja ne suojaavat häntä niin kuin viitta... Vaikka ympärillä on monia ihmisiä, hän tulee ”viereen” ja ”koskettaa” sieltä... Armo aivan kuin laskeutuu naisen päälle. 

xxx/ellauri287.html on line 632: Bibliografia: Bost-Pouderon, C. 2000. "Le ronflement des Tarsiens: l'interprétation du Discours XXXIII de Dion de Pruse." REG 113: 636-51.—. 2003. "Dion de Pruse et la physiognomonie dans le Discours XXXIII." REA 105.1: 157-74.—. 2006. Dion Chrysostome: Trois discours aux villes (Or. 33-35). 2 osaa Salerno: Helios.—. 2009. "Entre predication morale, parénèse et politique: les Discours 31-34 de Dion Chrysostome (ou: la subversion des genres)." Julkaisussa Danielle van Mal-Maeder et ai., toim. Jeux de voix: enonciation, intertextualité et intencionalité dans la littérature antiikki. Bern: Peter Lang. 225-56.Desideri, P. 1978. Dione di Prusa: un intellettuale greco nell'impero romano. Messina: d'Anna. Gleason, Maud. 1995. Making Men: Sophistis and Self-Presentation in Ancient Rome. Princeton: Princeton University Press. Gangloff, Anne. 2006. Dion Chrysostome et les mythes: Hellénisme, communication et philosophie politique. Grenoble: Millon. Houser, J. Samuel. 1998. "Eros" ja "Aphrodisia" Dio Chrysostomin teoksissa. Classical Antiquity 17.2: 235-58. Jones, CP 1978. Dio Chrysostomosin roomalainen maailma. Cambridge, MA: Harvard University Press. Millar, F. 1968. "Local Cultures in the Room Empire: Libyan, Punic and Latin in Roman Africa." JRS 58: 126-34.Mras, K. 1949. "Die προλαλία bei den griechischen Schriftstellern." Wiener Studien 64: 71-81. Swain, Simon. 1996. Hellenismi ja valtakunta: kieli, klassismi ja valta kreikkalaisessa maailmassa, 50-250 jKr. Oxford: Oxford University Press.—. 2007. "Polemonin fysiognomia". Julkaisussa Simon Swain, toim. Kasvojen näkeminen, sielun näkeminen: Polemonin fysiognomia klassisesta antiikista keskiaikaiseen islamiin. Oxford: Oxford University Press. 125-202. Harvard University Press. Millar, F. 1968. "Paikalliset kulttuurit Rooman valtakunnassa: Libyan, Punic ja Latin in Roman Africa." JRS 58: 126-34.Mras, K. 1949. 

xxx/ellauri291.html on line 150: — JV, Vironperä, Lohja, 20. helmikuuta 1967

xxx/ellauri292.html on line 51: What will happen to Rahab after the lecherous king poisons her husband? How can she save her family from the invading Israelites? God parted the waters of the Jordan River for them—will He likewise provide miracles and blessings to her Ephraimite clan if they can rejoin their people? You bet He will! He will relocate them to the U.S. in corpore and make them mormons!

xxx/ellauri293.html on line 133: —  Paavali [Room. 16:1-2]

xxx/ellauri295.html on line 507:     Targum on arameankielinen käännös heprealaisesta Raamatusta Tanakista, joka vastaa suunnilleen kristittyjen Vanhaa testamenttia. Tanakh is an acronym, made from the first Hebrew letter of each of the Masoretic Text's three traditional divisions: Torah (literally 'Instruction' or 'Law'), Nevi'im (Prophets), and Ketuvim (Writings)—hence TaNaKh.

xxx/ellauri295.html on line 678:     Muggeridge was described as having predatory behaviour towards women. He was described as a "compulsive groper", reportedly being nicknamed "The Pouncer" and as "a man fully deserving of the acronym NSIT—not safe in taxis". His niece confirmed the facts, while also reflecting on the suffering inflicted on his family and saying that he changed his behaviour slightly when he converted to Christianity in the 1960s.

xxx/ellauri296.html on line 301: 

xxx/ellauri298.html on line 546: BPM 2. Uhrausistukka — Ei ulospääsyä tai karkotusta paratiisista

xxx/ellauri298.html on line 553: BPM 3. Taisteluistukka — On olemassa tie ulos. Exit through tunnel in rear.

xxx/ellauri303.html on line 213:   40. että Israelin tyttäret joka vuosi menivät lauluin ylistämään gileadilaisen Jeftan tytärtä — neljän päivän ajaksi joka vuosi.

xxx/ellauri304.html on line 407: Genre fiction, also known as popular fiction, is a term used in the book-trade for fictional works written with the intent of fitting into a specific literary genre, in order to appeal to striped-ass baboons and fans already familiar with that genre. A number of major literary figures have written genre fiction. John Banville publishes crime novels as Benjamin Black, and both Doris Lessing and Margaret Atwood have written science fiction. Georges Simenon, the creator of the Maigret detective novels, has been described by André Gide as "the most novelistic of novelists in French literature", and the one who has made most money and scored most arse with it. The main genres are crime, fantasy, romance, science fiction and horror—as well as perhaps Western, inspirational and historical fiction. 

xxx/ellauri304.html on line 466: Tätä on noudatettava, koska se toimii - se on toiminut maailman sivu, samalla konstilla on meidät kaikki nussittu. The structure itself puts tension and action and drama into everything it touches — and that’s what you want your book to do. And that’s what your readers will also want your book to do. Readers have a comfort zone and this structure will put them in it.

xxx/ellauri304.html on line 517:   Sometimes though they might do a little more. They won’t steal the real action but they set the mood, they add humor, they make the setting more believable. You can do this by making placeholders eccentric or obsessive. I read analysis once of an old flick called Beverly Hills Cop. It featured a clerk in an art gallery. He was effeminate. By itself, that’s not unusual. But he had a Jewish accent, and that was unusual because Jews weren’t generally treated as queens in Hollywood — it teems with them (although today H’wood can say anything it wants about Jews, even Christians. You can tell this was an old movie.) What that character did however in the film was to help make Detroit cop Eddie Murphy, the negro comedian, feel even more alien in L.A. than he otherwise would have.

xxx/ellauri304.html on line 533:     In Hollywood where they are always looking for blockbusters — but then don’t know what to do with them so they go back to filming comic books — for the thing they most desire is “high concept.” That means a clean plot, a story you can tell in one sentence.     If you can't summarise your novel, well, imagine your novel-to-be is a movie already and tell us about it in a sentence. That should be easy enough. 

xxx/ellauri304.html on line 601:     Finally, a large percentage of novels today are written in restricted third person viewpoint. In other words, in each individual scene, the author works through only one person’s head. Anybody else in the scene, except the major player at that moment, is made to live by his actions and his words, but not by you — as author — getting into his head and telling us what he’s thinking. (Obviously, by the way, private eye novels are in some way illustrative of this rule because most PI’s are written first person since it’s impossible to get into another character’s thoughts and feelings except by showing him cavorting on your literary stage.) 

xxx/ellauri304.html on line 621:     See that guy up there waiting in the checkout line near the cash register? Yes, of course he’s reading. He’s always reading. He’s Stephen King — and yes, to this day, he reads every check he gets. And if you would emulate him, then start imitating him.

xxx/ellauri304.html on line 638: For instance, the overrated “Catcher in the Rye’s” theme is that life sucks. Okay, if you say so. Include me out. The vastly better “This is Graceanne’s Book” has the opposite theme — that you can win; no matter the odds, you can do it. I like that one better. It is pure bullshit, but then so am I. Or was. 

xxx/ellauri304.html on line 643:   AND FINALLY — YES, YOU OUTLASTED ME — I’M DEAD… AND HERE ARE A COUPLE OF END PAPERS. Posted on September 23, 2013 by brian.

xxx/ellauri305.html on line 334: Esim. 12:45 — Vakinainen tai tilapäinen palkattu työntekijä ei saa syödä siitä

xxx/ellauri305.html on line 336: Esim. 12:46 — Ei viedä pääsiäislihaa ryhmän rajoista

xxx/ellauri305.html on line 338: Esim. 12:46 — Ei riko luita pääsiäisuhrista → Ps. 34:20

xxx/ellauri305.html on line 350: Esim. 13:12 — Esikoisten eläinten syrjään ottaminen

xxx/ellauri305.html on line 360: Esim. 20:3 — Ei edes ajatella, että hänen lisäksi on muita jumalia — Jemeniläinen→ Ex. 20:2

xxx/ellauri305.html on line 362: Esim. 20:5 — Ei tehdä kaiverrettua kuvaa tai mitään kuvaa itsellesi — Jemenilainen→ Ex. 20:4

xxx/ellauri305.html on line 364: Esim. 20:6 — Ei palvoa epäjumalia samalla tavalla kuin niitä palvotaan — jemeniläiset→ Ex. 20:5

xxx/ellauri305.html on line 366: Esim. 20:6 — Ei palvoa epäjumalia neljällä tavalla, jolla palvomme Jumalaa — Jemeniläiset→ Ex. 20:5

xxx/ellauri305.html on line 368: Esim. 20:7 — Älä ota Jumalan Nimeä turhaan — Jemeniläinen→ Ex. 20:6

xxx/ellauri305.html on line 370: Esim. 20:9 — Pyhittää päivä Kiddushilla ja Havdalahilla — Jemeniläinen→ Ex. 20:8

xxx/ellauri305.html on line 372: Esim. 20:11 — Ei tehdä kiellettyä työtä seitsemäntenä päivänä — Jemeniläinen→ Ex. 20:10

xxx/ellauri305.html on line 374: Esim. 20:13 — Ei murhata — Jemenilainen→ Ex. 20:12

xxx/ellauri305.html on line 376: Esim. 20:13 — Kunnioita isääsi tai äitiäsi — Jemenilainen→ Ex. 20:12

xxx/ellauri305.html on line 378: Esim. 20:14 — Ei siepata — Jemenilainen→ Ex. 20:13

xxx/ellauri305.html on line 380: Esim. 20:14 — Ei todistaa valheellisesti — Jemeniläinen→ Ex. 20:13

xxx/ellauri305.html on line 382: Esim. 20:15 — Ei himoitse ja harkita toisen omaisuuden hankkimista — Jemenilainen→ Ex. 20:14

xxx/ellauri305.html on line 384: Esim. 20:21 — Ei tehdä ihmismuotoja edes koristetarkoituksiin — Jemenilainen→ Esim. 20:20

xxx/ellauri305.html on line 386: Esim. 20:24 — Ei rakentaa alttaria metallilla hakatuista kivistä — Jemenilainen→ Ex. 20:23

xxx/ellauri305.html on line 388: Esim. 20:27 — Ei kiivetä portaita alttarille — Jemeniläinen→ Ex. 20:26

xxx/ellauri305.html on line 412: Esim. 21:33 — Tuomioistuimen on arvioitava kuopan aiheuttamat vahingot

xxx/ellauri305.html on line 414: Esim. 21:37 — Tuomioistuimen on ryhdyttävä rangaistustoimenpiteisiin varasta vastaan

xxx/ellauri305.html on line 440: Esim. 22:24 — Älä pakota heitä maksamaan, jos tiedät, ettei heillä ole sitä

xxx/ellauri305.html on line 476: Esim. 23:13 — Ei vannoa epäjumalan nimessä → 5. Moos. 13:14

xxx/ellauri305.html on line 494: Esim. 25:15 — Ei irrottaa sauvoja arkista

xxx/ellauri305.html on line 518: Esim. 30:31 — Voiteluöljyn valmistaminen

xxx/ellauri305.html on line 522: Esim. 30:32 — Ei voidella voiteluöljyllä

xxx/ellauri305.html on line 524: Esim. 30:37 — Ei toistaa suitsukekaavaa

xxx/ellauri305.html on line 564: Lev. 5:23 — Palauta ryöstetty esine tai sen arvo

xxx/ellauri305.html on line 624: Lev. 11:34 — Noudata nestemäisten ja kiinteiden ruokien epäpuhtauksien lakeja

xxx/ellauri305.html on line 652: Lev. 14:2 — Suorita määrätyt säännöt metzoran puhdistamiseksi

xxx/ellauri305.html on line 662: Lev. 15:16 — Noudata siemennesteen epäpuhtauksien lakeja (säännöllinen siemensyöksy normaalilla siemennesteellä)

xxx/ellauri305.html on line 668: Lev. 15:25 — Noudata naisen juoksuongelman aiheuttaman epäpuhtauden lakeja

xxx/ellauri305.html on line 676: Lev. 16:29 — Ahdistaa itseäsi Jom Kippurina

xxx/ellauri305.html on line 744: Lev. 19:10 — Kentän nurkan jättäminen leikkaamatta köyhille

xxx/ellauri305.html on line 762: Lev. 19:13 — Ei ryöstää avoimesti

xxx/ellauri305.html on line 766: Lev. 19:13 — Älä viivyttele palkanmaksua sovitun ajan jälkeen

xxx/ellauri305.html on line 814: Lev. 19:28 — Ei tatuointia iholle

xxx/ellauri305.html on line 818: Lev. 19:31 — Ei esitä ov (medium)

xxx/ellauri305.html on line 824: Lev. 19:35 — Älä tee epäoikeudenmukaisuutta vaa'oilla ja painoilla

xxx/ellauri305.html on line 826: Lev. 19:36 — Jokaisen henkilön on varmistettava, että hänen vaakansa ja painonsa ovat tarkkoja

xxx/ellauri305.html on line 934: Lev. 23:35 — Lepäämään Sukkotilla

xxx/ellauri305.html on line 936: Lev. 23:35 — Ei tehdä kiellettyä työtä Sukkotilla

xxx/ellauri305.html on line 938: Lev. 23:36 — Levätä Shemini Atzeretillä

xxx/ellauri305.html on line 940: Lev. 23:36 — Ei tehdä kiellettyä työtä Shemini Atzeretillä

xxx/ellauri305.html on line 944: Lev. 23:42 — Asua sukassa Sukkotin seitsemän päivää

xxx/ellauri305.html on line 956: Lev. 25:9 — puhaltaa shofar Tishrein kymmenesosaan orjien vapauttamiseksi

xxx/ellauri305.html on line 966: Lev. 25:14 — Myynti Tooran lain mukaisesti

xxx/ellauri305.html on line 968: Lev. 25:14 — Ei yli- tai alimaksua artikkelista

xxx/ellauri305.html on line 974: Lev. 25:24 — Noudata myytyjen perheen kiinteistöjen lakeja

xxx/ellauri305.html on line 980: Lev. 25:37 — Ei lainata korolla

xxx/ellauri305.html on line 984: Lev. 25:42 — Myydään olla myymättä häntä orjaksi

xxx/ellauri305.html on line 986: Lev. 25:43 — Ei pakottaa häntä ahdistamaan

xxx/ellauri305.html on line 1002: Lev. 27:14 — Arvioida vihittyjen talojen arvo

xxx/ellauri305.html on line 1004: Lev. 27:16 — Arvioi pyhitettyjen peltojen arvoa

xxx/ellauri305.html on line 1008: Lev. 27:28 — Noudata omaisuuden kieltämisen lakeja (cherem)

xxx/ellauri305.html on line 1010: Lev. 27:28 — Ei myydä cheremiä

xxx/ellauri305.html on line 1064: Num. 15:20 — Varaa osa taikinasta Kohenille

xxx/ellauri305.html on line 1066: Num. 15:38 — tzitzit nelikulmaisiin vaatteisiin

xxx/ellauri305.html on line 1102: Num. 28:19 — Tuoda lisäuhria pääsiäisenä

xxx/ellauri305.html on line 1104: Num. 28:26 — Lisätarjousten tuominen Shavuotille

xxx/ellauri305.html on line 1108: Num. 29:2 — Tuoda lisäuhreja Rosh Hashanaan

xxx/ellauri305.html on line 1110: Num. 29:8 — Tuoda lisäuhria Jom Kippuriin

xxx/ellauri305.html on line 1112: Num. 29:13 — Lisätarjousten tuominen Sukkotiin

xxx/ellauri305.html on line 1114: Num. 29:35 — Lisätarjousten tuominen Shmini Atzeretille

xxx/ellauri305.html on line 1130: Deut. 1:17 — Ei nimittää tuomareita, jotka eivät tunne oikeudellista menettelyä

xxx/ellauri305.html on line 1134: Deut. 5:19 — Ei haluta toisen omaisuutta — Jemeniläinen → 5. Moos. 5:18

xxx/ellauri305.html on line 1144: Deut. 6:8 — Tefilliinin (profylakterioiden) vetäminen päähän

xxx/ellauri305.html on line 1146: Deut. 6:8 — Tefiliinin sitominen käsivarteen

xxx/ellauri305.html on line 1158: Deut. 7:25 — Ei saada hyötyä epäjumalien koristeista

xxx/ellauri305.html on line 1160: Deut. 7:26 — Ei saada hyötyä epäjumalista ja niiden tarvikkeista

xxx/ellauri305.html on line 1226: Deut. 13:14 — Ei saa muuttaa kaupunkia epäjumalanpalvelukseen → Esim. 23:13

xxx/ellauri305.html on line 1230: Deut. 13:15 — Kuulustellaan varovasti todistajaa

xxx/ellauri305.html on line 1236: Deut. 13:18 — Ei hyötyä siitä

xxx/ellauri305.html on line 1250: Deut. 14:22 — Toisten kymmenysten syrjäytäminen (Ma'aser Sheni)

xxx/ellauri305.html on line 1254: Deut. 15:2 — Vapauttaa kaikki lainat seitsemännen vuoden aikana

xxx/ellauri305.html on line 1256: Deut. 15:2 — Ei painostaa tai vaatia lainanottajaa

xxx/ellauri305.html on line 1258: Deut. 15:3 — Paina epäjumalanpalvelijaa maksua varten

xxx/ellauri305.html on line 1284: Deut. 16:18 — Nimitä tuomarit

xxx/ellauri305.html on line 1292: Deut. 17:11 — Toimi sanhedrinin päätöksen mukaisesti

xxx/ellauri305.html on line 1326: Deut. 18:11 — Ei loitsujen mutista

xxx/ellauri305.html on line 1330: Deut. 18:11 — Ei kuulla ov

xxx/ellauri305.html on line 1340: Deut. 19:3 — Nimeä turvakaupungit ja valmistele pääsyreitit

xxx/ellauri305.html on line 1344: Deut. 19:14 — Ei saa siirtää rajamerkkiä jonkun omaisuuden varastamiseksi

xxx/ellauri305.html on line 1352: Deut. 20:2 — Nimitä pappi puhumaan sotilaiden kanssa sodan aikana

xxx/ellauri305.html on line 1362: Deut. 20:19 — Ei tuhota ruokapuita edes piirityksen aikana

xxx/ellauri305.html on line 1372: Deut. 21:14 — Älä pidä häntä orjuudessa sen jälkeen, kun hän on ollut seksuaalisuhteessa hänen kanssaan

xxx/ellauri305.html on line 1380: Deut. 21:23 — Älä viivyttää hautaamista yöksi

xxx/ellauri305.html on line 1382: Deut. 22:1 — Palauta kadonnut esine

xxx/ellauri305.html on line 1400: Deut. 22:8 — Tee suojakaide tasakattojen ympärille

xxx/ellauri305.html on line 1406: Deut. 22:10 — Ei työskennellä eri eläimiä yhdessä

xxx/ellauri305.html on line 1436: Deut. 23:13 — Valmista käymälät leirien ulkopuolella

xxx/ellauri305.html on line 1438: Deut. 23:14 — Valmista lapio jokaiselle sotilaalle kaivamista varten

xxx/ellauri305.html on line 1448: Deut. 23:20 — Ei lainata korolla

xxx/ellauri305.html on line 1450: Deut. 23:21 — Lainaa epäjumalanpalvelijoille ja lainaa heiltä korolla

xxx/ellauri305.html on line 1458: Deut. 23:25 — Työntekijä ei saa ottaa enempää kuin pystyy syömään

xxx/ellauri305.html on line 1460: Deut. 23:26 — Työntekijä ei saa syödä palkkatyön aikana

xxx/ellauri305.html on line 1462: Deut. 24:1 — Avioeron myöntäminen Get- asiakirjan avulla

xxx/ellauri305.html on line 1470: Deut. 24:6 — Ei vaadita vakuutena ruuan valmistamiseen tarvittavia astioita

xxx/ellauri305.html on line 1474: Deut. 24:10 — Luotonantaja ei saa väkisin ottaa vakuuksia

xxx/ellauri305.html on line 1476: Deut. 24:12 — Älä viivyttele sen palauttamista tarvittaessa

xxx/ellauri305.html on line 1478: Deut. 24:13 — Palauta vakuus velalliselle tarvittaessa

xxx/ellauri305.html on line 1484: Deut. 24:17 — Ei vaadita leskeltä vakuuksia

xxx/ellauri305.html on line 1512: Deut. 25:19 — Pyyhi pois Amalekin muisto

xxx/ellauri306.html on line 490:   Hunien kuningas Magyar Feher Bor, jonka laumat eri heimoista ja liittolaisista ovat lakaiseneet pontisilla (ei Aasian) aroilla ja molemmissa Rooman valtakunnissa, kuolee jättäen valtaistuimen kahdelle pojalle. Sotaan ja nälkäisiin verisiin kampanjoihin kyllästynyt Bleda haluaa asettua rauhassa Rooman liittolaiseksi, hänen veljensä Attila uskoo vain miekan voimaan. (Puppua.) Roomalainen kenraali Aethius, joka tuntee hunnit hyvin entisten panttivankien vaihdon seurauksena, ei onnistu saamaan todellista rauhaa, mutta ostaa horjuvan, lupaamalla kaksinkertaisen kunnianosoituksen. Heikon keisari Valentinianuksen hovi, joka muutti Roomasta pohjoiseen Ravennaan, jossa todellinen hallitsija on keisarinna-äiti Galla Placidia, barbaarikuninkaan leski, kieltäytyy ehdoista ja vangitsee Aethiuksen, joka edelleen kieltäytyy ottamasta vällyerää Valentinianuksen pyllynruman sisaren Honorian kanssa. Kunnianhimoinen prinsessa tarjoaa nyt kätensä ja valtakunnan myötäjäiset Attilalle, juuri sitä mitä Bleda toivoi. Rauhaa halveksien Attila murhaa suositun Bledan metsästyksen aikana (palturia) ja taivuttelee laumoja marssimaan hänen kanssaan valtakuntaan. Vaikka tietämätön, peloissaan Valentinian voi vain surra lemmikkigepardiaan, Galla Placidia kuntouttaa Aethiuksen johtamaan epätoivoista puolustusta, mutta hyvinsyöneet kuntonsa laiminlyöneet legioonat ilman vakavia linnoituksia eivät ole vertaa hunnilaumoille, jotka eivät pelkää mitään, paitsi ehkä että taivas putoaa heidän päällensä, mukanaan salaperäinen kristittyjen jumala, hänen poikansa sekä hänen maallinen edustajansa, paavi Leo, adjutantteinaan P. Pietari ja P. Paavali....— KGF Vissers

xxx/ellauri312.html on line 641: Stretching. Stretching involves attaching a stretcher or extender device — also referred to as a penile traction device — to the penis for gentle tension.

xxx/ellauri312.html on line 650: There is a place where we are always alone with our own mortality, where we must simply have something greater than ourselves to hold onto—God or history or politics or literature or a belief in the healing power of love, or even righteous anger. Sometimes I think they are all the same. A reason to believe, a way to take the world by the throat and insist that there is more to this life than we have ever imagined (Allison 1994, p. 181; PSH, p. 161)

xxx/ellauri319.html on line 296: Visarion Belinskyi suhtautui kielteisesti Taras Shevchenkon runokokoelman "Kobzar" julkaisemiseen vuonna 1840, mikä oli käännekohta ukrainalaisen kirjallisuuden historiassa, sekä E. Hrebinkan julkaisemaan ukrainalaiseen almanakkaan "Lastivka".. Näiden kahden ukrainalaisen julkaisun julkaiseminen sai V. Belinskyin puhumaan julkisesti ukrainalaisen kirjallisuuden kehitysnäkymistä. Välittämättä lainkaan kummankin kirjan kustannuksista, hän "yhdisti ne yhdeksi kriittiseksi artikkeliksi", koska molemmat oli kirjoitettu "pikkuvenäläisellä murteella". V. Belinsky esittää pohjimmiltaan tärkeän kysymyksen — onko maailmassa edes pientä venäjän kieltä, voiko olla pientä venäläistä kirjallisuutta, ja pitäisikö "meidän" kirjoittajien kirjoittaa pikkuvenäjäksi? Vastauksena näin muotoiltuun kysymykseen hän väitti, ettei kirjallisuudella eikä ukrainan kielellä ole mahdollisuuksia spontaanille kehitykselle, ja hän viittasi Hoholiin esimerkkinä kirjailijasta, joka "on intohimoisesti rakastunut Ukrainaan, mutta tästä huolimatta kirjoittaa venäjäksi, ei ukrainan kielellä".

xxx/ellauri329.html on line 97: In 2004, Harper’s magazine published Natasha, a first short story by a promising 31-year-old Jewish Canadian writer, David Bezmozgis. This memorable tale of a doomed teenage love between Mark, a Jewish Toronto slacker, and his troubled (shiksa) Russian cousin by marriage was eventually released in a collection chronicling the lives of a Latvian immigrant family, not unlike the author’s own. Bezmozgis’s debut became a cult sensation with critics drawing literary comparisons to Bernard Malamud and Philip Roth. The story was subsequently reprinted in 15 languages. After penning two more acclaimed novels, then writing and directing his first feature Victoria Day (SFJFF 2010), Bezmozgis finally brings his modern classic to the big screen in a remarkably assured adaptation that’s both highly provocative and deeply poignant. At the heart of this emotional, coming-of-age drama are the extraordinarily measured performances of Alex Ozerov as Mark and newcomer Sasha K. Gordon as the sexually precocious Natasha, the dark star who forever alters Mark’s staid, suburban existence. Fans of the writer’s original source material will not be disappointed in David Bezmozgis’s haunting narrative of forbidden love caught between the old world and the new, further proof of this talented artist’s notable command of both literature and the cinema. —Thomas Logoreci Note: Mature Content. A New Life in the west means a second chance for precocious Latvian jews.

xxx/ellauri337.html on line 76: 
Gruppenbild mit Dame von Heinrich Böll — Gratis-Zusammenfassung

xxx/ellauri354.html on line 223:  — George Peele, "A Farewell to armes", Polhymnia, 17 November 1590.

xxx/ellauri354.html on line 281: Indeed, as Rinaldi claims, The Black Pig “tells you about those priests” (FTA 8). And it is easy enough to see why the priest thought it “a filthy and vile book.” But Rinaldi’s complaint, that it “shook my faith” (7), needs to be read in the context of everything else we know of this character. If Rinaldi is a real believer—which I doubt—he would disdain Notari’s book, which, although heavily documented, is dripping with scorn, irony, and bias. But if his faith is automatic and largely irrelevant, or if it has already been shaken, he might have read on, attracted by Notari’s wide reading, his witty, strong prose, and his relentlessly rationalist logic, sometimes reminiscent of MarkTwain.

xxx/ellauri354.html on line 370: All sundial mottos are sad like that. The earliest sundials, from Ancient Egypt to China to Europe, were often marked with dedications to god(s), patrons, and/or the craftsmen who made them. In the 1500s sundials began bearing mottos relating to time—its passage, the limited quantities allotted, how it should be spent, or as a brief memento mori to the reader to stop looking at the sundial and get on with their life. Sundials represent a willful, anachronistic affectation in a world that has begun to dispense with clocks and watches.

xxx/ellauri354.html on line 374: In the appendix, each location is carefully catalogued with notes as to placement, location of the sundial, and maker(s) if known. McLemore’s observation that they’re “all sad like that” is hard to argue with: there are a lot of ways to say “remember you will die,” “time is fleeting,” and “seize the day,” and many of them are in Gatty’s book. The motto that S-Town host Brian Reed1 finds in a mission garden, knowing to look for it because John told him to, does not appear there, but does in another: “Nil boni hodie diam perdidi: I did nothing good today — the day is lost.”

xxx/ellauri354.html on line 404: (Source: Sundials, Sentiments, and S-Town—Liz Tracey1, JStor Daily, Wiki—List of sundial mottos)

xxx/ellauri356.html on line 445: «Что за тля — да на моём сапожке?»		"Millainen kirva saappaissani on?"		

xxx/ellauri356.html on line 447: Дядька — кубарем, в волны — ничком!		Kaveri - pään yli, kasvot alas aaltoihin!	

xxx/ellauri376.html on line 276: Vers 1840-1842, Mauprat est considéré comme une lecture pernicieuse par l'Église catholique et mis à l'Index. En adoptant une position socialiste, notamment grâce aux personnages d'Edmée et de Patience, Sand reflète des idées politiques inspirées par son ami Pierre Leroux, l'inventeur du terme socialisme, qui a également été le formateur — ou du moins contributeur — de son esprit politique. Bernard prend part en la guerre de l'independence des États-Unis et finit par foûtre chère Edmonde. 

xxx/ellauri376.html on line 546: « Socrate, — direz-vous, — ce sage,

xxx/ellauri379.html on line 119: One of the most resoundingly Modernist elements of Conrad’s work lies in this kind of early post-structuralist treatment of language—his insistence on the inherent inability of words to express the real, in all of its horrific truth. Marlow’s journey is full of encounters with things that are “unspeakable,” with words that are uninterpretable, and with a world that is eminently “inscrutable.” In this way, language fails time and time again to do what it is meant to do—to communicate. It’s a phenomenon best summed up when Marlow tells his audience that “it is impossible to convey the life-sensation of any given epoch of one’s existence—that which makes its truth, its meaning—its subtle and penetrating essence… We live, as we dream—alone.” Kurtz—as “eloquent” as he may be—can’t even adequately communicate the terrifying darkness he observed around him.“The horror! The horror!” is all he can say. Some critics have surmised that part of Heart of Darkness’s mass appeal comes from this ambiguity of language—from the free rein it gives its readers to interpret. Others posit this as a great weakness of the text, viewing Conrad’s inability to name things as an unseemly quality in a writer who’s supposed to be one of the greats. Perhaps this is itself a testament to the Heart of Darkness’s breadth of interpretability.

xxx/ellauri379.html on line 129: Character Analysis The Intended. Kurtz's fiancée is marked — like the Harlequin — by her absolute devotion to Kurtz. When Marlow visits her after his return from Africa, he finds that she has been dressed in mourning for more than a year and still yearns for information about how her love spent his last days. However, she is actually devoted to an image of Kurtz instead of the man himself: She praises Kurtz's "words" and "example," assuming that these are filled with the nobility of purpose with which Kurtz began his career with the Company. Her devotion is so absolute that Marlow cannot bear to tell her Kurtz's real last words ("The horror! The horror!") and must instead tell her a lie ("The whore! The whore!") that strengthens her already false impression of Kurtz. On a symbolic level, the Intended is like many Europeans, who wish to believe in the greatness of men like Kurtz without considering the more "dark" and hidden parts of their characters. Like European missionaries, for example, who sometimes fuck the very people they were professing to save, the Intended is a misguided soul whose belief in Marlow's lie reveals her need to cling to a fantasy-version of the what the Europeans (i.e., the Company) are doing in Africa.

xxx/ellauri380.html on line 131:     Herman on saksalainen: hän on säästeliäs — siinä kaikki! huomautti Tomski. Mutta jos kuka on minulle käsittämätön, niin se on isoäitini, kreivitär Anna Fedorovna.

xxx/ellauri380.html on line 139: — Miksi sinä et ole pu'ettu? sanoi kreivitär; aina sinua pitää odottaa. Se on, muoriseni, kärsimätöintä.

xxx/ellauri380.html on line 143: Lisaveta Ivanovna oli kotimarttiira. Hän hoiti taloutta ja sai nuhteita sokerin liiasta tuhlaamisesta; hän luki ääneen romaaneja — ja oli syypää tekijän kaikkiin vikoihin; hän seurasi kreivitärtä kaikilla hänen matkoillaan — ja vastasi ilmasta ja kadusta. Hänelle oli määrätty palkka, jota ei koskaan täyteen maksettu; yhtä kaikki vaadittiin häneltä, että hänen piti olla puettu kuin kaikki muut, se on: kuin varsin harvat. Seuraelämässä näytteli hän mitä kurjinta osaa. Kaikki hänen tunsivat eikä kukaan häntä huomannut; tanssijaisissa tanssi hän ainoastaan silloin kuin puuttui vis-à-vis'ia, ja naiset ottivat häntä käsivarteensa joka kerta, kun heidän täytyi mennä kammioon korjaamaan jotakin koristuksistaan.

xxx/ellauri380.html on line 145:     Herman oli venäläistyneen saksalaisen, joka oli jättänyt hänelle pienen pääoman, poika. Ollen lujasti vakuutettuna riippumattomuutensa vahvistamisen välttämättömyydestä, ei hän koskettanut korkoihin, eli palkallaan eikä sallinut itselleen pienintäkään oikkua. Muutoin olikin hän umpimielinen ja kunnianhimoinen, ja hänen tovereillaan oli harvoin tilaisuutta nauraa hänen liikanaista säästeliäisyyttään. Hänellä oli kovat intohimot ja tulinen kuvitus; mutta lujuus pelasti hänet nuoruuden tavallisista hairahduksista. Niinpä esimerkiksi, ollen sielussaan pelaaja, ei hän koskaan ottanut kortteja käsiinsä, sillä hän laski että hänen omaisuutensa ei sallinut hänen (niinkuin hän tapasi sanoa) "uhrata välttämätöintä toivossa voittaa liikoja" — ja kuitenkin hän koko yöt istuskeli korttipöytien ääressä, seuraten kuumeentapaisella vavistuksella pelin eri käänteitä.

xxx/ellauri380.html on line 152:     Ja siis, nuo innokkaat kirjeet, nuo kiihkeät pyynnöt, tuo röyhkeä, itsepäinen vainoominen — kaikki tuo ei ollutkaan rakkautta! Rahaa — sitä hänen sielunsa isosi!

xxx/ellauri380.html on line 154: - Te olette hirviö! sanoi vihdoin Lisaveta Ivanovna. Niinpä, Herman myönteli. Alkoi käydä pimeitä rappuja, kummallisten tunteiden valtaamana. "Näitä samoja portaita myöten — ajatteli hän — kenties kuusikymmentä vuotta takaperin, samaan makuuhuoneesen, tähän samaan aikaan, puettuna koruommeltuun kauhtanaan, kammattuna à l'oiseau royal, painaen rintaansa vasten kolmikolkkaista hattua, hiiviskeli onnellinen nuori mies, jo kauan sitte haudassa mädännyt; ja tänään lakkasi hänen rakastettunsa sydän sykkimästä…"

xxx/ellauri380.html on line 164: — Sallikaa minun määrätä kortti, sanoi Herman, kurottaen kättään lihavan herran takaa, joka siinä punkteerasi.

xxx/ellauri380.html on line 169: — Ässä voitti! sanoi Herman ja aukaisi korttinsa.

xxx/ellauri380.html on line 465: Iraqis showed ineptness against an Iranian military ripped apart by revolutionary turmoil in the 1980s and could not win a three-decades-long war against the Kurds. The Arab military performance on both sides of the 1990 Kuwait war was at best mediocre. And the Arabs have done poorly in nearly all the military confrontations with Israel. Why this unimpressive record? There are many factors—economic, ideological, technical—but perhaps the most important has to do with culture and certain societal attributes which inhibit Arabs from producing an effective military force.

xxx/ellauri380.html on line 486: It would be difficult to exaggerate the cultural gulf separating American and Arab military cultures. In every significant area, American military advisors find students who enthusiastically take in their lessons and then resolutely fail to apply them. The culture they return to—the culture of their own armies in their own countries—defeats the intentions with which they took leave of the American infrastructure.

xxx/ellauri385.html on line 423: Iceland. Although, at one point, it was a gorgeous and wild country with relatively unique geology (there are other places like it, just not as easy to fly to)—it’s now an amusement park.

xxx/ellauri385.html on line 427: There were rough teens roaming some of the towns with absolutely no attention paid by the local police. The super clean capital, Reykjavik, is only clean due to armies of street sweepers who clean it right before dawn. It is not due to residents respecting it too much to litter, despite what many people want to believe. The food is ridiculously expensive ($25 for a McChicken-like chicken patty sandwich is normal), and usually, repulsive—boiled goat heads sitting at room temperature, horrendous subs with some kind of curry mayonnaise, and smelly fish.

xxx/ellauri385.html on line 429: When I got stranded on September 1st due to the bus system shutting down, the locals were very cold. I suppose you can’t expect people to flock to help you, but I and a few other people needed to travel only about 25 miles to get to where we needed to be. The car rental company (which seemed to only own one car) quadrupled the charge after they heard how desperate our situation was. A local refused to give us any advice or phone numbers to even call a taxi/rental agency until we paid them $350 so that they could go shopping in the next town over—then they unexpectedly joined our rental car and demanded they be driven back afterwards.

xxx/ellauri385.html on line 431: Some people were okay. You can find good people anywhere, but the arrogance and undue pride I encountered, as well as the overrunning by tourists—means I wouldn’t even consider returning.

xxx/ellauri385.html on line 532: —  Lammas Coleridgelle. 27. syyskuuta 1796 

xxx/ellauri385.html on line 557: Sun, over all—that no co-rival owns,			Päivä paistaa kaikille, risukasaankin,

xxx/ellauri385.html on line 561: Resistless—not to be controuled; that guides,		Vastustamattoman, ilman kontrollia, ohjaavan

xxx/ellauri385.html on line 566: Leans on a shadowy staff—a staff of dreams.		Nojaa varjosauvaan --- unelmiensa keppiin. 

xxx/ellauri385.html on line 574: Upon the politic worshipper—so man			poliittiselle palvojalle --- sillä lailla

xxx/ellauri385.html on line 580: And man of his own fate artificer—			Mään nääs on oman kohtalonsa seppo ---

xxx/ellauri385.html on line 605: The bones of all their pride.—				Niiden kaikki ylpeilevät penisluut. ---

xxx/ellauri388.html on line 151:     Tässäkin on masentavinta se, että tehtyä ei enää voi peruuttaa. Ruiskahdus ja kamat pussissa, mites sen voi perua.  Tavallisesti kun puhutaan itsesaastutuksesta, sitä pidetään ihan eri asiana kuin sukupuolivietin tyydyttämistä. Tosin on toinen luonnollinen ja toinen luonnoton tyydyttämisen tapa, mutta molempien vaikuttimena on kuitenkin aivan sama vietti. Vietin tyydyttäminen itsesaastutuksella on tosin niin sanottu "nuoruuden pahe", lasten pahe, mutta se on lasten pahe vaan sen vuoksi, ettei voi tulla kysymykseen lapsen tyydyttää viettiänsä luonnollisella tavalla, — että se on lapselle vielä ainoa keino tyydyttää sitä viettiä, joka hänessä ilmestyy näin aikaisena. Se vielä puuttuisi että kersat bylsisivät keskenään pyllyt ojossa. Tietysti me vanhempina voisimme vähän jelppiä...

xxx/ellauri388.html on line 153: Mut hei, minulla on vielä yksi vastaus mielessäni. Tietysti en voi tämän kysymyksen valaisemiseksi vedota muuhun kuin omaan kokemukseeni. En siis ota arvostellakseni esimerkiksi lääkärien käyttämiä keinoja tämän "taudin" hävittämiseksi lapsista — jotkut ovat määränneet lasten sitomista yöksi sänkyihinsä kuin GT-sählämit palestiinalaisvankeja, — näyttävät ne minusta turhilta, koska vietti on luonnon voima, johon ei pysty mikään ulkonainen vastavoima; mikään väkivalta ei voi saada viettiä ulosnyhdetyksi tai sammutetuksi, yhtä vähän kuin munaa voi saada olemaan laajenematta lämpimässä ahtaassa tunnelissa tai dynamiittina räjähtämättä sen perälle. 

xxx/ellauri388.html on line 155: Kirjassani olen kuvannut, kuinka käsitykseni sisällisestä Jumalasta, eli siitä samasta, jossa nytkin tiedän ainoan totisen elämän olevan, syntyi tämän runkkaussalaisuuteni mukana ja siten että rukouksessani käännyin molo kovana hänen puoleensa. — Mutta minusta näyttää toiselta puolen, että vanhempien motivationaalinen puhe valmistaisi lasta ymmärtämään, että hänen on taisteleminen viettiä vastaan, koska en minä eikä minun esivanhempani ole sitä voittaneet, — että jos hän voittaa ja pysyy puhtaana, niin hän voittaa ikäänkuin meidän puolesta, — että me odotamme sitä häneltä, — että runkkaushalun voittaminen on hänen suuri elämäntehtävänsä. Voi olla ettei lapsi jäisi kylmäksi, vaan saisi itseluottamusta ja intoa, kun käteenvetovietin voittaminen, joka vielä äsken tuntui hänestä tarpeelliselta yksistään vaan hänen oman vähäpätöisen taivastoivonsa vuoksi, yhtäkkiä muuttuisi hänen silmissään siksi, mitä tämä taistelu todellisuudessa onkin: suureksi elämäntehtäväksi, jonka tarkoitus on vapauttaa maailma onanisoinnista. Sen kiduttavan, salaisen häpeäntunteen sijasta, joka on häntä painanut, hän saisi rohkean ja avonaisen mielen, ja hän käyttäisi paheen hävittämiseksi niitä hikisiä kämmeniä, jotka hiipii vähän väliä lapsen nivusiin.

xxx/ellauri388.html on line 172:     Tässä kehityskaudessa tavallisesti nuoruuden salainen pahe vaihtuu miehuullisena pidettyyn prostitutsiooni-elämään. Nuorukaisen sydämmessä tapahtuu luopuminen omastatunnosta ja sen vaihtaminen teorioihin. Vietin tyydyttäminen, jota lapsuudestaan pois kasvava nuorukainen oli pitänyt semmoisena häpeänä ja niin raskaana salaisuutena, yhtäkkiä on puheaineena ja sanotaan luonnolliseksi ja oikeutetuksi, kunhan se ei tapahdu itsesaastutuksen avulla, vaan niinkuin luonto itse on määrännyt, torveen työntymällä, joka on tehnyt ihmiset miehiksi ja naisiksi. Häpeällistä oli korkeintaan se tapa, jolla hän oli viettiä tyydyttänyt, eli oikeastaan vaan se ettei hän ollut vielä täysikäinen. — Näin ei puhu ainoastaan toverit. He voivat milloin tahansa löytää tukeeksensa kirjallisuutta, joka vakuuttaa ihan niinkuin hekin. Vieläpä enemmän. Olen lukenut, ettei itsesaastutus olekaan oikeastaan mitään vahingollista, koska se vaan kehittää ja kypsyttää ihmistä oikeaan sukupuolielämään.

xxx/ellauri388.html on line 181:     Katolilainen kirkko, kuten aina kirkot, teki Kristuksen osoittamasta sisällisestä elämänohjeesta oman määräämän ulkonaisen pakkolain, säätäen, että ne, jotka virallisesti elävät "taivaan valtakunnan tähden", ovat kielletyt avioliittoa rakentamasta. Siveellisyyskysymys ei ole ainoa, joka on kärsinyt siitä, että kirkko näin on asettunut jumalallisen lain taakse ja julistanut sen ihmisille omanansa. Totuttaen ajattelemaan, että kieltäytyminen on kirkon vaatimus, se hävitti ihmisten siittimistä tunnon siveysvaatimuksen varjolla. Ja sen mukana oli tietysti poissa kaikki voima elämänohjeelta, sillä rakkaudesta kirkkoon ei voi kukaan pysyä puhtaana. — Luterus, joka niinikään oli kirkon mies, ei nähnyt tätä syytä vallitsevaan epäsiveellisyyteen, vaan luuli, että katolilainen kirkko oli väärinkäsittänyt Kristuksen elämänohjeen.

xxx/ellauri388.html on line 296: Jos elämänohje siis on tarkoitettu meille sairaille, niin pitäisi meidän voida tukahuttaa munanasetin sillä ajatuksella, että sittenkuin aika on kypsä saamme sitä jälleen tyydyttää. Mutta jos tämmöinen tulevaisuuden lupaus voisikin antaa minulle siihen voimaa, pitäisi minulla olla takeita, tai ainakin toiveita, että ollenkaan tulen rakastumaan, — että rakastun henkilöön, joka myöskin rakastuu minuun — tai etten rakastu ystäväni vaimoon ja niin edespäin. Ne on kaikki asioita, jotka ovat jokapäiväisiä. Ja tulevaisuuden rakkaus siis siltäkin kannalta on liian epätietoista ja epävarmaa voidakseen antaa voimaa voittamaan vertin kuzua l. runkkaustarvetta nykyisyydessä.

xxx/ellauri388.html on line 299: Omatuntokin käski minua kieltäytymään, mutta ei ilmoittanut mitään syytä käskyynsä. Jos jokin syy oli, niin se oli vaan vanhempien termennys, että pitää olla puhdas, tai että Koiro tahtoo puhtautta, tai että se on välttämätöntä jotakin suurta, näkymätöntä, tästä elämästä riippumatonta tarkoitusta varten, — se oli vaan käsky niinkuin lapsille, joille ei sanota mitä varten, koska on itseselvää, että kaikki on heidän hyväkseen (so. vanhempien). 

xxx/ellauri388.html on line 301: Kirjallisuus ilmoitti syyn, miksi piti kieltäytyä, — selvän, ymmärrettävän syyn, se oli: rakkauselämä tulevan vaimoni kanssa. Mutta tämä syy ei ollut se suuri, sanoin selittämätön, elämänajasta riippumaton, joka seuraa omantunnon käskyä, koska siitä puuttui keppi, oli pelkkä porkkana. Ja luullakseni minä vaan petin itseni kun omistin kirjallisuuden ihanteen. Minä omistin sen kun tunsin, että sen syy oli minulle vähemmin sitova, vähemmin totinen kuin omatunto. Minussa rupesi asumaan jokin valheellinen vapauden tunne tämän vaihdon jälkeen, ja senpätähden, huolimatta tästä kauniista, runollisesta teoriasta, käytännössä ei tuntunut enää mitään ohjaksien pitoa.

xxx/ellauri388.html on line 311: Kuten jo on ollut puhe, WC-puhdistaja Luterus pitää sukuvietin tyydyttämistä luonnon vaatimana lakina, jota ei käy terveydelle haitatta rikkominen, ja tahtoo vedoten erityisiin raamatun paikkoihin todistaa, että Jumala on avioliiton säätänyt. — Vielä merkitsevämpänä pidetty mies, Paavali, sanoo, tosin vähän horjuen ja itsekunkin omaantuntoon vedoten, että "parempi on naida kuin palaa".

xxx/ellauri388.html on line 328: Myöhemmin, nuorukaisijällä herää toisellaisen luomisen vaisto, — aviollinen pyrintö, joka sitoo hänet yhdeksi koko maailman kanssa. Jos lapsi on kasvanut järjellisissä elämänoloissa, jos häntä on tarpeen mukaisesti ohjattu, niin hänessä ei tähän aikaan synny mitään huonoja ajatuksia. Hän ymmärtää, että se, mitä hän tuntee, on vaan siihen asti salassa olleen ja kaikille yhteisen elämänvoiman ilmaus; että tämän kautta hän koskettaa maailman elämän suurta kehää, että hän, kuten jokainen muukin ihminen, on ainoastaan osa kokonaisuudesta. Jos näin ei käy, jotain on ollut kasvatuxessa vialla.

xxx/ellauri388.html on line 358: Onnexi jokaisella ihmisellä löytyy — ja usein sitä selvempänä mitä nuorempi hän on — välitön tieto siitä kuinka hänen on menetteleminen. Se tieto on hänen omatuntonsa.

xxx/ellauri388.html on line 399: "Siis: Kristuksen ihanne on saavuttamaton eikä voi olla meille elämänohjeena; siitä voi puhua ja sitä miettiä, vaan elämää varten se ei ole sovelias ja se on senvuoksi hyljättävä. Meille ei ole tarpeen ihanne, vaan semmoinen ohje, semmoinen säädös, jonka noudattamiseen meidän voimamme riittävät kun yhteiskuntamme siveelliset voimat arvostellaan keskimääräisesti: esimerkiksi rehellinen kirkollinen avioliitto, jolloin toinen puolisoista, mies, on voinut ennen sitä pitää yhteyttä muiden naisten kanssa; taikka, sanovat toiset, avioliitto oikeudella avioeroon; taikka siviiliavioliitto; taikka, laskeutuen yhä alemmas samaa tietä, — jaapanilainen, tai juutalainen, ainoastaan ajaksi solmittu avioliitto, — ja miksi ei vihdoin myöskin järjestetyt haureuslaitokset, kun sille tielle lähdetään?

xxx/ellauri388.html on line 409: "Mitä on tekeminen nuorukaisen ja tytön, jotka ovat joutuneet viettelykseen joko vajoutuen rajoja tuntemattoman rakkauden ajatuksiin tai sitten rakkauteen johonkin erityiseen henkilöön ja näin kadottaneet osan mahdollisuutta palvella Jumalaa ja ihmisiä? — Yhä samaa, varjeleminen itseään lankeemuksesta, tietäen, ettei antautuminen vapauta kiusauksesta, vaan ainoastaan tekee sen voimakkaammaksi, ja yhä vaan pyrkiminen suurempaan ja suurempaan puhtauteen päästäkseen täydellisemmin palvelemaan Jumalaa ja ihmisiä.

xxx/ellauri388.html on line 411: "Mitä on tekeminen ihmisten, jotka eivät ole voittaneet taistelussa, vaan langenneet? — Pitäminen lankeemustansa ei minään laillisena nautintona, kuten sitä nyt pidetään, oikeutettaessa sitä avioliittoon vihkimisellä, — ei satunnaisena huvituksena, jota voi uudistaa muiden kanssa, ei onnettomuutena, kun lankeemus on tapahtunut alempisäätyisen kanssa ja ilman vihkimismenoja, vaan pitäminen tätä ensimäistä lankeemusta niinkuin se olisi ainoa, niinkuin se olisi eroittamattoman avioliiton perustaminen. Eihän siitä mitään tullut Lexa, tyttö ei takkupartaa edes huolinut. 

xxx/ellauri388.html on line 415: "Mitä on miehen ja vaimon tekeminen, jotka elävät avioliitossa ja täyttävät sitä rajoitettua Jumalan ja ihmisten palvelemista, lasten elättämisellä ja kasvattamisella, joka heidän asemastaan johtuu? — Yhä samaa: yhteisin voimin pyrkiminen kiusauksesta vapaaksi, oman itsensä puhdistukseen ja synnin lopettamiseen vaihtamalla ne suhteet, jotka heitä estävät yhteisesti ja erityisesti palvelemasta Jumalaa ja ihmisiä, vaihtamalla aistillinen rakkaus veljen ja sisaren puhtaihin suhteisin. Mitä vittua? Jotain sukuruzaa vai?

xxx/ellauri388.html on line 429: "Kristuksen ihanneoppi on se ainoa oppi, joka voi johtaa ihmiskuntaa. Ei voi, ei saa panna Kristuksen ihanteen sijaan ulkonaisia sääntöjä, vaan täytyy lujasti pitää edessään tätä ihannetta täydessä puhtaudessa, ja — ennen kaikkea — uskoa siihen.

xxx/ellauri388.html on line 433: "Puhumatta siitä, että ihmissuvun häviäminen ei ole mikään uusi ajatus aikamme ihmisille, vaan on uskonnollisille ihmisille uskonkappale, ja tieteen tuntijoille ehdoton johtopääte auringon kylmenemisestä, — piilee tässä vastaväitteessä suuri, hyvin levinnyt ja vanha väärinkäsitys. Sanotaan: 'Jos ihmiset saavuttavat täydellisen puhtauden ihanteen, niin he häviävät, ja siksi tämä ihanne ei voi olla oikea.' Mutta ne, jotka näin sanovat, joko tietäen tai tietämättään sekoittavat kahta eri asiaa toisiinsa, käskyn ja ihanteen.

xxx/ellauri388.html on line 435: "Puhtaus ei ole mikään arvo sinänsä, vaan se on hänen oma ihanteensa, tai ehkä paremmin yksi sen ehdoista. Mutta ihanne voi vaan silloin olla ihanne, kun sen toteuttaminen on mahdollinen vaan aatteessa, ajatuksessa, kun se kuvaillaan olevan toteutettava vaan loppumattomuudessa ja kun siis sen lähestymisen mahdollisuus on loppumaton. Jos ihanne olisi saavutettavissa tai vaikkapa me vaan voisimme kuvailla sitä mielessämme toteutuneena, niin se lakkaisi olemasta ihanne. Semmoinen on Kristuksen ihanne — taivaan valtakunnan perustaminen maan päällä, — tuo jo profeettain ennustama ihanne, että on tuleva aika, jolloin kaikki ihmiset muuttuvat Jumalan opettamiksi, takovat miekat auroiksi, keihäät sirpeiksi, leijona makaa karitsan vieressä, jolloin kaikki olennot yhtyvät rakkauden kautta. Ihmiselämän koko merkitys on liikkumisessa tätä ihannetta kohden, ja sentähden pyrkiminen Kristuksen ihannetta kohden semmoisenaan, ja puhtautta kohden tämän ihanteen yhtenä ehtona, ei suinkaan hävittäisi elämisen mahdollisuutta, vaan päinvastoin tämän kristillisen ihanteen puute hävittäisi eteenpäin menon, ja siis elämisen mahdollisuuden. Väärin Lexa! Hyvin päästiin eteenpäin ilman ihannetta, maa on jo käyt kaz täyttynyt. Coelibaatin ihanteen kanssa olisi tosissn käynyt paremmin, homot maan päältä kenties vähentyneet. 

xxx/ellauri388.html on line 447: 1) Ole kieltäytyväinen ruuassa, juonnissa ja nukkumisessa; älä käytä hienoa, rasvaista tai maustuksilla valmistettua ruokaa, — erittäinkään et imelää: torttuja, sylttiä, konfektejä, sokuria j.n.e.; älä syö ensinkään lihaa, ei raavaiden, ei lintujen, eikä kalojen, ja vältä mahdollisuuden mukaan munia, muitakin kuin omaasi: — ruokasi olkoon yksinomaan kasvi- ja maitoruokaa; älä koskaan käytä mitään määrää väkeviä juomia, älä polta tupakkaa, ja jos sinulla ovat nuo tavat, niin luovu niistä viipymättä; älä juo teetä äläkä kahvia, — keitetty maito voi täydellisesti korvata nämä juomat synnyttämättä hermokiihoitusta; älä syö äläkä juo ennen nukkumista; istu ja makaa kovalla alustalla; mene levolle niin varhain kuin mahdollista, viileässä huoneessa, peittäen itsesi kylmällä peitteellä, ja nouse heti kun heräät. Pidä kädet peiton päällä. Hyödyllistä on aamulla ja päivällä (kunhan ei yöksi) valella itseään kylmällä vedellä. Yleensä muista, että hienostumisen ja hillitsemättömyyden tavat ovat suotuisimmat herättämään aistillisuutta.

xxx/ellauri388.html on line 487: Joka koko sydämmestään pyrkii puhtauteen, hän saa ennen tai myöhemmin huomata, ettei yöllinen siemenvuoto ollutkaan mikään luonnon välttämättömyys, vaan ainoastaan ruumiissa oleva jäännös hänen entisistä tavoistaan ja ajatuksistaan, joka askel askeleelta poistuu hänen uusien tapojensa ja ajatustensa tieltä. Siemenvuoto ei lakkaa niinkauan kuin ajatusten puhtaus vasta koetetaan sisällisen taistelun kautta saavuttaa. Se lakkaa vasta silloin kuin ajatusten puhtaus on muuttunut tavaksi, niin että likaiset, siementä erittävät ajatukset eivät enää herääkään. —

xxx/ellauri388.html on line 499: Ihminen on sitä, mitä hän syö, se on klassillinen totuus. Jos poika saapi tietää kirjoista tai vanhemmilta tovereilta, että 14 tai 15 vuoden ijässä sperma välttämättä eroittuu ja kerääntyy, ja että tämä tapahtuu hänen tietämättään ja tahtomattaan, — ettei hän voi sitä vastustaa, ja että terveyden säilyttämiseksi hänen on välttämätöntä aika ajoin tavalla tai toisella toimittaa ulos ruumiistaan tuota muodostusta, niin hän heti alkaakin menetellä tämän vakaumuksensa mukaan.

xxx/ellauri388.html on line 520: Ei ole tapaa, joka enemmän vaatisi harjaantumista, kuin itsensä-hallitsemisen tapa. Tässä tavassa on niin paljon elämälle tärkeätä, että ainoastaan sen kehittymisen mukaan voi arvostella miehen miehekkyyttä ja naisen naisellisuutta. Osata tehdä oma minuus yhdeksi luontomme korkeimpien puolten kanssa ja alistaa sille alhaisemmat puolet, ylentää eläimellinen luontonsa oman tietoisuutensa korkeuksiin — se on se päavoima, joka antaa elämää ihmisen koko olennolle. Kuinka tämä on kehitettävä lapsessa, — siihen on jokaisen vanhemman vastaaminen, — se on jokaisen nuorukaisen asia. Tie, joka sinne johtaa, ei ole salainen eikä monimutkainen. Itsensä-hallitsemisen tapa on ainoastaan kerta kerralta tapahtuvien kieltäymysten tuote, on uudistuva voitto aistillisten vaikutinten yli, halujen tuomitseminen, velvollisuuden tunto mielitekojen keskellä. Se, joka on tämän tavan omaksensa saanut, joka voi järjellisesti hallita itseänsä ilman sairaaloista voimain ponnistusta, joka on himojensa herra, hänellä on itsessään totisen herruuden ja tosi onnen lähde.

xxx/ellauri388.html on line 525: Maailman historian alkuaikoina ovat siittimellisistä tarpeista riippumattomat olosuhteet tehneet naisen miehen orjaksi. Jos sukupuolet olisivat tasaväkiset, jos niillä siittimellisissä suhteissa olisi vapaa valta valita ja hylätä, jos he merkitsisivät yhtä rakkauden kaikilla asteilla, alkaen mielipiteiden vaihdosta, siihen yhtymiseen saakka, jonka tarkoitus on jälkeläisten synnyttäminen, — minä luulen, että tämä tasa-arvoisuus miehen ja naisen välillä ehkäisisi sitä liiallista yhtymisen halua, joka on vallinnut miestä siitä saakka kuin me ihmiselämää tunnemme, ja joka silloin läheni ja nyt on melkein maniia, mikä tuottaa koko ihmissuvun onnettomuuden.

xxx/ellauri388.html on line 546: Tätä erotusta omien voimien ja Jumalan voiman välillä olen paljon miettinyt. Se näyttää minusta vaikealta selvästi käsittää, ja varma on, että siinä piileekin suuri mysteerio, jota voi tutkia, voi päästä yhä lähemmäksi, yhä suuremmalla ja syvemmällä ihmettelyllä katsella, — mutta ei koskaan käsityksellä saavuttaa. Saattaa se olla ihan fuulaakin.

xxx/ellauri388.html on line 560: Ihminen voi elämää katsella kahdella tapaa. Joko hän tuntee elämänsä siksi ajanjaksoksi, joka kuluu alkaen hänen ruumiillisesta syntymisestänsä hänen ruumiilliseen kuolemaansa. Taikka tuntee hän elämänsä riippumattomaksi tästä lyhyestä ajanjaksosta, käsittää olevansa ajassa ainoastaan jotakin erityistä tehtävää varten ja pitää itseänsä muuten iankaikkisuuden, ajattomuuden eli hengen lapsena. Nämät kaksi katsantotapaa ilmaisevat eri uskoja. Sillä uskohan ei ole mitään muuta kuin se, mitä ihminen uskoo elämän olevan. Jos joskus tuleekin ajatelleeksi iankaikkisuutta ja "mitä tulee tämän elämän jälkeen", — jos vaikka on vakuutettu siitä, että "löytyy elämää kuonpuoleisessakin, ja siellä kämmenten karvoitusta kazotaan",— niin ei se vielä läheskään merkitse, että uskoo iankaikkisuuteen. Sillä iankaikkisuuteen uskoo vasta silloin kuin uskoo, että iankaikkisuus määrää minun tehtäväni nykyisessä elämässä. Voipi ajatella iankaikkisuutta, voipi saarnata siitä ja kuitenkin teossa näyttää pitävänsä tehtävänään personallisten tarkoitusten saavuttamista tässä ajallisessa elämässä, eli siis ei uskovansa iankaikkisuuteen. Jos on vallalla toinen näistä uskoista, niin se synnyttää erilaista toimintaa ihmisen puolelta, kuin jos hänessä on vallalla toinen. Uskoessa elämän alun ja lopun olevan näkyvissä ihminen tietysti rupee itsellensä puuhaamaan tätä hänen personallista oloaan niin tyydyttäväksi, mukavaksi ja turvatuksi kuin mahdollista. Personallista elämää tarkoittavat silloin sekä hänen tulevaisuuden haaveensa että jokapäiväiset tehtävänsä. Mutta käsittäessä elämää ikuisuuden kannalta ihminen hakee ennen kaikkea tehtävää ikuisuudelta, eikä rupea tätä lyhyttä elämänjaksoa varten rakentamaan jotakin erikoista itselleen eikä täkäläiselle tulevaisuudelleen. Tämän aikaa voi olla vaikka aidanvizaxena pyykkipoika pippelissä, kuha loppuaika menee yläpilvessä.

xxx/ellauri388.html on line 569: Ja vaikka tulisittekin uudestaan ja yhä uudestaan antautumaan taistelussa, niin te, ollen tällä pohjalla, ette enää joudu epätoivoon, niinkuin ennen päätöstenne rauetessa, vaan te tulette ajattelemaan: koska en nytkään voittanut, se osoittaa, etten vielä ole kylläksi rakastanut elämän henkeä. Pyhimysten lailla nousette pystyyn aina lankeemuxen jälkeen, kuin totemipaalu  kalpeana, huojuvana. Vaikka se näyttäisi kuinka pieneltä ja kömpelöltä tahansa, — vaikka epäilisitte, että joku voisi teille nauraa siitä, — se on kuitenkin tarpeellisempi kuin mikä hyvänsä, mitä tähän asti olette pitäneet käsissänne maailman käsitysten ja määräysten mukaan.

xxx/ellauri388.html on line 571: Myöntäkää itsellenne rohkeasti, pelkäämättä, — että jos tekisitte, mitä teidän lapsellinen järkenne (Isän ääni) vaatii, niin te tarkoittaisitte ja tekisitte ihan toista kuin mitä nykyjään tarkoitatte ja teette. Te ette ole vaan yksi noita syttyviä ja taas sammuvia molekyylejä maailman kaikkisuudessa, teidän tarkoituksenne ei ole joku aika elää ja sitten kuolla, vaan se henki, joka teissä on, te itse, olette "lähetetty" maailmaan, ja lähettäjänne on teidän luonanne ja on antanut teille kaikki, mitä tätä tarkoitusta varten tarvitsette, ja enemmänkin (sillä biljardikeppiä ja palloja te ette oikeasti tarvize, ei niitä ole enkeleilläkään paizi Gabilla).  Semmoisena maailma odottaa ja kaipaa teitä, sillä on "eloa paljon, mutta työväkeä vähän."

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