ellauri014.html on line 1531: Tutta l´arte del Marini consiste nella forma, nella pura espressione; la sua poesia è scarsa di pensiero e di sentimento e quel poco che vi si trova è - come osserva il De Sanctis - privo di serietà. Quel ripetere, quel girare e rigirare la medesima idea presentandocela sotto aspetti diversi è una prova della povertà di pensiero cui il poeta supplisce con un calore veramente straordinario d´ immaginazione. Ancor più palese è il difetto del sentimento: egli non sente quel che canta; non ha fede in quel mondo da cui prende i fantasmi dell´arte sua. Vuol esser poeta religioso, patriottico, morale e riesce falso e freddo perchè in lui non vi è il sentimento della religione, della patria e della morale. Solo nel genere erotico eccelle il Marini, ma non sarebbe esatto dire ch´egli abbia il vero sentimento dell´amore. Il suo piuttosto è senso erotico. Non è la donna che suscita i suoi sospiri, ma la femmina; non è Beatrice, non è Laura, che suscitano nell´anima del poeta il fuoco soave di una passione divina, ma è la procace Lilla che con la sua carne odorosa eccita il senso del Marini e gl´ ispira i versi degli Amori notturni e dei Trastulli estivi, ove il naturalismo più crudo è espresso in una forma spirante l´estrema voluttà dei sensi. Le liriche erotiche del nostro autore sono tutto un poema in cui si fa l´apoteosi del piacere sensuale. Il Marini non analizza i suoi sentimenti e non mostra i vari atteggiamenti del suo spirito sotto l´azione d´amore, ma s´indugia nel rappresentarci la bellezza plastica delle sue amanti. I suoi madrigali e i suoi sonetti sono tanti brevissimi inni al pallore, al neo, alle chiome erranti, alla treccia ricamata di perle, ai pendenti, allo specchio, all´ago, alla bocca, al seno, al velo, al guanto, al ventaglio della sua donna; sono tanti quadretti in cui l´amante è sorpresa durante il bagno, dinanzi allo specchio, mentre si pettina, in carrozza, al giunco dei dadi; le sue canzoni sono superbe sinfonie dedicate al bacio e all´amplesso in cui culmina, per un istante, la passione carnale del poeta. La carne e il senso regnano sovrani nell´Adone e fremono di voluttà sotto il velo tenue e mal messo dell´allegoria e sotto l´ipocrisia del fine morale.
ellauri019.html on line 534: ja Amorrerit ja Cananerit ja Gergeserit ja Jebuserit.
ellauri038.html on line 294: Amor Fati ja ikuinen paluu
ellauri038.html on line 300: Mutta Nietzsche ei yleensä käsitellyt ikuisen paluun ajatusta totuutena kaikkeudesta, vaan ajatusleikkinä joka lopullisesti paljastaa elämän hyväksymisen. Nietzschen mukaan ”Amor Fatin” (kohtalonrakkauden) omaksunut ei ainoastaan hyväksy, vaan toivoo kaiken kokemansa tuskan, ilon, häpeän ja kunnian uusiutuvan loputtomiin.
ellauri039.html on line 641: oikeesti haluu sitä. Amor fati kehiin, niin ei tunnu pahalta,
ellauri046.html on line 76: S'Amor con novo, insolito focile, Jos rakkaus mut uudella, oudolla tuliaseella
ellauri061.html on line 732: «Trasformare il cardo bolscevico in rosa d'Italia, Rosa d'Amore.»
ellauri061.html on line 1354: Kirjoitin kolme liuskaa. Kalle tuli kotiin viikonlopuksi. Kati leipoi omenapiirakan. Katsoimme Amores perros -elokuvan, jonka aikana Ukko nukahti sohvalle. Tämä päivä kannatti elää.
ellauri090.html on line 434: cercar non so ch’Amor non venga sempre Amore mi accompagna sempre niin lempi seuraa mua sinne aina
ellauri140.html on line 56: Book III is centred on the virtue of Chastity as embodied in Britomart, a lady knight. Resting after the events of Book II, Guyon and Arthur meet Britomart, who wins a joust with Guyon. They separate as Arthur and Guyon leave to rescue Florimell, while Britomart rescues the Redcrosse Knight. Britomart reveals to the Redcrosse Knight that she is pursuing Sir Artegall because she is destined to marry him. The Redcrosse Knight defends Artegall and they meet Merlin, who explains more carefully Britomart's destiny to found the English monarchy. Britomart leaves and fights Sir Marinell. Arthur looks for Florimell, joined later by Sir Satyrane and Britomart, and they witness and resist sexual temptation. Britomart separates them with a stick and meets Sir Scudamore, looking for his captured lady Amoret. Britomart alone is able to rescue Amoret from the wizard Busirane. Unfortunately, when they emerge from the castle Scudamore is gone. (The 1590 version with Books I–III depicts the lovers' happy reunion, but this was changed in the 1596 version which contained all sex books.)
ellauri140.html on line 58: Book IV, despite its title "The Legend of Cambell and Telamond or Of Friendship", Cambell's companion in Book IV is actually named Triamond, and the plot does not center on their friendship; the two men appear only briefly in the story. The book is largely a continuation of events begun in Book III. First, Scudamore is convinced by the hag Ate (discord) that Britomart has run off with Amoret and becomes jealous. A three-day tournament is then held by Satyrane, where Britomart beats Arthegal (both in disguise). Scudamore and Arthegal unite against Britomart, but when her helmet comes off in battle Arthegal falls in love with her. He surrenders, removes his helmet, and Britomart recognizes him as the man in the enchanted mirror. Arthegal pledges his love to her but must first leave and complete his quest. Scudamore, upon discovering Britomart's sex, realizes his mistake and asks after his lady, but by this time Britomart has lost Amoret, and she and Scudamore embark together on a search for her. The reader discovers that Amoret was abducted by a savage man and is imprisoned in his cave. One day Amoret darts out past the savage and is rescued from him by the squire Timias and Belphoebe. Arthur then appears, offering his service as a knight to the lost woman. She accepts, and after a couple of trials on the way, Arthur and Amoret finally happen across Scudamore and Britomart. The two lovers are reunited. Wrapping up a different plotline from Book III, the recently recovered Marinel discovers Florimell suffering in Proteus' dungeon. He returns home and becomes sick with love and pity. Eventually he confesses his feelings to his mother, and she pleads with Neptune to have the girl released, which the god grants.
ellauri140.html on line 76: Amaretto F+, the betrothed of Scudamour, kidnapped by Busirane on her wedding night, saved by Britomart. She represents the virtue of married love, and her marriage to Scudamour serves as the example that Britomart and Artegall seek to copy. Amoret and Scudamor are separated for a time by circumstances, but remain loyal to each other until they (presumably) are reunited. Amaretto on mantelilikööri.
ellauri140.html on line 86: Bellphone F+-, the beautiful sister of Amoret who spends her time in the woods hunting and avoiding the numerous amorous men who chase her. Timias, the squire of Arthur, eventually wins her love after she tends to the injuries he sustained in battle; however, Timias must endure much suffering to prove his love when Belphoebe sees him tending to a wounded woman and, misinterpreting his actions, flies off hastily. She is only drawn back to him after seeing how he has wasted away without her. Tää on niinkö Artemis eli Diana. Osuvasti kolmikulmapuistossa.
ellauri140.html on line 88: Brit-o-mart F+, a female knight, the embodiment and champion of Chastity. She is young and beautiful, and falls in love with Artefact upon first seeing his face in her father's magic mirror. Though there is no interaction between them, she travels to find him again, dressed as a knight and accompanied by her nurse, Glauce. Britomart carries an enchanted spear that allows her to defeat every knight she encounters, until she loses to a knight who turns out to be her beloved Artefact. (Parallel figure in Ariosto: Bradamante.) Britomart is one of the most important knights in the story. She searches the world, including a pilgrimage to the shrine of Isis, and a visit with Merlin the magician. She rescues Artefact, and several other knights, from the evil slave-mistress Radigund. Furthermore, Britomart accepts Amoret at a tournament, refusing the false Florimell.
ellauri140.html on line 90: Busyrane M-, the evil sorcerer who captures Amoret on her wedding night. When Britomart enters his castle to defeat him, she finds him holding Amoret captive. She is bound to a pillar and Busirane is torturing her. The clever Britomart handily defeats him and returns Amoret to her husband Artefact.
ellauri140.html on line 107: Chrysostome F+-, mother of Belphoebe and her twin Amoretta. She hides in the forest and, becoming tired, falls asleep on a bank, where she is impregnated by sunbeams (sure) and gives birth to twins. The goddesses Venus and Diana find the newborn twins and take them: Venus takes Amoretta and raises her in the Garden of Adonis, and Diana takes Belphoebe and does what she wants with her.
ellauri140.html on line 126: Scubamour M+, the lover of Amoret. His name means "Diving gear of love". This character is based on Sir James Scudamore, a jousting champion and courtier to Queen Elizabeth I. Scudamour loses his love of Amoret to the benefit of the sorcerer Busirane. Though the 1590 edition of The Faerie Queene has Scudamour united with Amoret through Britomart´s assistance, the continuation in Book IV has them separated, never to be reunited.
ellauri140.html on line 203: By 1594, Spenser's first wife had died, and in that year he married a much younger Elizabeth Boyle, a relative of Richard Boyle, 1st Earl of Cork. He addressed to her the sonnet sequence Amoretti. The marriage itself was celebrated in Epithalamion. They had a son named Peregrine. Ei ollut varmaan yhtä hyvä laulamaan kuin Susan Boyle, mutta ehkä nätimpi. Did you prick his Boyle? MY GOODNESS!
ellauri158.html on line 786: -- P. 3. prop. 13. schol. Amor, odium. [in: P. 3. prop. 15. coroll., prop. 17., prop. 19., prop. 20., prop. 22., prop. 28., prop. 29., prop. 30. schol., prop. 33., prop. 34., prop. 35., prop. 38., prop. 39., prop. 40., prop. 44., prop. 45., prop. 48., prop. 49., prop. 55. coroll. 2., aff. defin. 6., aff. defin. 7., P. 4. prop. 57.]
ellauri158.html on line 854: P. 3. prop. 48. Amor et odium ex. gr. erga Petrum destruitur, si tristitia, quam hoc, et laetitia, quam ille involvit, ideae alterius causae iungatur; et eatenus uterque diminuitur, quatenus imaginamur Petrum non solum fuisse alterutrius causam. [in: P. 3. prop. 49. , P. 5. prop. 6., prop. 9.]
ellauri158.html on line 855: P. 3. prop. 49. Amor et odium erga rem, quam liberam esse imaginamur, maior ex pari causa uterque debet esse, quam erga necessariam. [in: P. 3. prop. 51. schol., P. 5. prop. 5.]
ellauri158.html on line 887: Amor
ellauri158.html on line 937: P. 3. aff. defin. 6. Amor est laetitia concomitante idea causae externae. [in: P. 3. aff. defin. 7., P. 4. prop. 34. schol., prop. 44., prop. 57., P. 5. prop. 2., prop. 15., prop. 17. coroll., prop. 32. coroll.]
ellauri158.html on line 1063: P. 4. prop. 44. Amor et cupiditas excessum habere possunt.
ellauri158.html on line 1180: -- P. 5. prop. 18. coroll. Amor erga Deum in odium verti nequit.
ellauri158.html on line 1202: P. 5. prop. 33. Amor Dei intellectualis, qui ex tertio cognitionis genere oritur, est aeternus. [in: P. 5. prop. 33. schol., prop. 37., prop. 39.]
ellauri163.html on line 104: Amoriitit. Vanhat vihamiehet. Hammurabi oli amoriitti. Sieltä Moosexenkin monkey business oli peräisin.
ellauri171.html on line 821: Asherah, queen consort of El (Ugaritic religion), Elkunirsa (Hittite religion), Yahweh (Israelite religion), Amurru (Amorite religion), Anu (Akkadian religion) and 'Amm (Religion in pre-Islamic Arabia) Symbolized by an Asherah pole in the Hebrew Bible.
ellauri172.html on line 389: Und du bringst den Amor, liebes Kind! Ja sä olet size Afrodite varmasti!
ellauri217.html on line 666: According to the Talmud, the seven laws were given first to Adam and subsequently to Noah.However, the Tannaitic and Amoraitic rabbinic sages (1st–6th centuries CE) disagreed on the exact number of Noahide laws that were originally given to Adam. Six of the seven laws were energetically derived from passages in the Book of Genesis, while the seventh, the establishment of courts of justice, seems rather something of an afterthought.
ellauri263.html on line 456: The name "Hebron" appears to trace back to two Semitic roots, which coalesce in the form ḥbr, having reflexes in Hebrew and Amorite, with a basic sense of 'unite' and connoting a range of meanings from "colleague" to "friend". In the proper name Hebron, the original sense may have been alliance. BUAHHAHHA LOL! Some friends!
ellauri302.html on line 46: Balaam was hired by Moabite Balak to curse Israel, because these were spreading like oxen and eating all the grass. Moabites were scared having seen what had happened to Amorites. History can't help repeating herself.
ellauri339.html on line 658: Nyt hän viettää kaksi viikkoa kuukaudessa etulinjassa kouluttamalla joukkoja käyttämään Amor-tablettipohjaista ohjelmistoa, jonka avulla panssarivaunu- ja kranaatinheitinmiehistö kohdistaa hyökkäyksensä separatisteihin ja leikkaavat ne kahtia. Ohjelman suunnitteli GIS Arta, irrallinen kokoelma ukrainalaisia ohjelmoijia, jotka liittyivät yhteen sen jälkeen, kun joukot eksyivät vanhentuneiden Neuvostoliiton karttojen avulla. Come Back Alive tarjoaa tabletteja ja kestäviä kannettavia tietokoneita, jotka käyttävät ohjelmistoa.
ellauri345.html on line 256: ryömii Amorin valheelliselle myllylle.
ellauri362.html on line 218: Et nuollessani sua Amor jelppi nuolineen. And I thought my Matilda could never deceive.
ellauri373.html on line 69: [ACh / Amor / nimb dein schwäres Joch von mir]
ellauri373.html on line 71: ACh / Amor / nimb dein schwäres Joch von mir / Ah / Aamori / Ota multa raskas ikeesi /
xxx/ellauri056.html on line 123: Sarja päättyy Mänzälän maisemissa, jossa Johannes saa lopulta venyneet lainopintonsa päätökseen ja jossa Amor ampuu useammankin nuolen.
xxx/ellauri114.html on line 243: Jotkut tutkijat ovat väittäneet Aabrahamin olleen amorilainen. Amorilaisiin lukeutuu myös Vanhan Assyrian ja Marin mainitsema Maru-Jamina eli Binu-Jamina, voimakas ja Assyrian pelkäämä paimentolaisheimo, jota on epäilty israelilaisixi. Keski-elam kuulosti tälläseltä:
xxx/ellauri114.html on line 602: Kuolleen meren kääröissä oli texti 1. tai 2. vs. ennen Krisua, jossa Melkisedek on jumala ja siitä käytetään nimityxiä "El" ja "Elohim", joita normixesti käytetään jumalasta. Amoriinien jumalat eli elohiim (pl.) fuusioitiin sittemmin tuulenpyörteeseen ja saatiin 1 jumala eli jehova. Textin mukaan Melkisedek julistaa sovituxen päivän ja sovittaa silloin ihmiset jotka on sille esivalittu. Se tuomizee myös kansoja. Mumslimit tuntee sen peitenimellä Kidr. Here's looking at you Kidr.
xxx/ellauri114.html on line 642: Joidenkuiden mielestä M. olis Nooan poikia, joko Seem tai Haam. Amoriinimaat oli kai osoitettu Haamille, tai size oli Seemille. Tästäkin on kiistelty. Saiko Jaafet mitään? Yhtään autoa?
xxx/ellauri114.html on line 740: Amorites
xxx/ellauri128.html on line 112: Andreas Capellanus, appelé en français par une traduction de son nom André le Chapelain, a écrit au XIIe siècle un traité intitulé ordinairement De Amore, et souvent traduit, de façon quelque peu fautive, Traité de l'Amour courtois, bien que son ton réaliste, voire cynique indique que, dans une certaine mesure, il se veut un antidote à l'amour courtois. On ne sait rien de la vie d'André le Chapelain, mais on suppose qu'il faisait partie de la cour de Marie de France, et qu'il était probablement d'origine française. On a soutenu que De Amore codifie la vie sociale et sexuelle de la cour d'Aliénor à Poitiers, entre 1170 et 1174, mais il a été manifestement écrit au moins dix ans plus tard et, semble-t-il, à Troyes. Il traite de plusieurs thèmes spécifiques qui faisaient l'objet d'un débat poétique entre troubadours et trobairitz à la fin du XIIe siècle.
xxx/ellauri167.html on line 154: Amor, ch’al cor gentil ratto s’apprende, Lempi, joka ton rotan sydämessä kyti,
xxx/ellauri167.html on line 157: Amor, ch’a nullo amato amar perdona, Lempi joka ei anna ilmaisexi rakastaa,
xxx/ellauri167.html on line 160: Amor condusse noi ad una morte. Lempi johti meidät yhteiskuolemaan.
xxx/ellauri177.html on line 328: -- oletko nähnyt? sanoi Serge eräänä aamuna, yhtenä noista pitkäveteisista tunneista: siellä oven yläpuolella on maalattu nainen, joka näyttää sinulta. Hän nauroi äänekkäästi. Ja he palasivat maalauksiin; he raahasivat pöytää taas seiniä pitkin yrittäen teloa itsensä. -- Vai niin! ei, mutisi Albine, hän on minua paljon läskimpi. Tai et voi tietää: hän rojottaa niin hassun hauskasti, ylösalaisin! He lopettivat puhumisen. Haalistuneesta maalista, jonka aika oli syönyt, nousi kohtaus, jota he eivät olleet vielä nähneet. Se oli seinän harmaasta esiin nousevan herkän lihan ylösnousemus, elvytetty kuva, jonka yksityiskohdat näyttivät palaavan yksi kerrallaan kesän helteessä. Makaava nainen nojasi taaksepäin vuohenjalkaisen faunin syleilyn alle. Voisi selvästi erottaa selälle heitetyt käsivarret, hylätyn vartalon, tämän pitkän alastoman tytön kiertelevän hahmon, yllättyneenä kukkavyöillä, pikku-Amorien niittämänä, jotka sirppi kädessään lisäsivät soppaan jatkuvasti uusia kourallisia ruusuja. Voit myös nähdä eläimistön ponnistelut, pukin puhaltelevan, hiänen mahansa alta kohoavan juurakon. Sitten toisessa päässä oli vain naisen kaksi jalkaa, jotka nostettiin ilmaan ja lensivät pois kuin kaksi vaaleanpunaista kyyhkystä. "Ei", Albine toisti, "hän ei näytä minulta. Hän on ruma. Mutta ton faunin vekottimet näyttää kyllä sun vastaavilta."
xxx/ellauri177.html on line 331: He halusivat nähdä kaiken uudelleen, rohkeasti, ihmetellen jokaista paneelia, soittaen toisilleen näyttääkseen itsensä jäseniksi hahmoista, jotka eivät todellakaan olleet paikalla viime kuussa. Ne olivat joustavia lanteita, jotka olivat taipuneet hermostuneisiin käsivarsiin, lantiolle kohoavia jalkoja, naisia, jotka ilmestyivät uudelleen miesten syleilyyn, joiden ojennetut kädet olivat aiemmin tarttuneet vain tyhjyyteen. Alkovissa olevat kipsi-Amorit itsekin näyttivät kaatuvan vapaammalla röyhkeydellä. Ja Albine ei enää puhunut lasten leikkimisestä, Serge ei enää uskaltanut laukoa hypoteeseja ääneen. He vakavoituivat, viipyivät kohtausten edessä toivoen, että maalaus saisi yhtäkkiä takaisin kaiken loistonsa, levoton ja häiriintynyt enemmän viimeisistä maalausten raakoja hannuja peittävistä hunnuista. Nämä nautinnon haamut opettivat heille rakkauden tiedettä. Ai noinko se tehdäänkin? Toiko tonne? Eipä ois luullut!
xxx/ellauri212.html on line 79: My Amor me dio benvenida is from 1963, the original is from 1952. I feel sympathy with the elderly man on the cover, trying to hold on to a gorgeous blonde, barely holding despondency at bay. He turns out to be the murtherer I bet.
xxx/ellauri230.html on line 232: Kumpikohan oli naivimpi, yhteinen ystävämme Dorzhi vai Kustu repukka? Oliko tää nyt taas sitä Kustun "muistitietoa" vai koittikohan Kustu tässä varsin valehdella ystävänsä avuxi? "Selittäkää jotakin", sanoivat Billy ja Darrell Amory Towersin muille tytöille lähtiessään puntixelle. The Great Game on sittemmin jatkunut Keski-Aasiassa USA:n ja Kiinan välillä. Briteistä on tullut säälittävä roskaläjä, ja Amerikasta banaani- ja roistovaltio. Venäjä on nyt vähän noita kaikkia. Tiibetistä on tullut taas Kiinan lääni, mitä se on ollut ammoisista ajoista, niinkuin Viipuri, venäläisten ikivanha kaupunki.
50