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.
ellauri072.html on line 198: Eleven! Please repeat that. Beatrice does not get it. Dante and Vergilius get quite pissed.
ellauri072.html on line 208: This surprising, even shockingly "liberal" view of homosexual love as being the counterpart of the heterosexual kind should cause more notice than it generally does; perhaps even greater surprise should attend the extraordinarily generous gestures made toward the three Florentine homosexual politicians, Iacopo Rusticucci, Guido Guerra, and Tegghiaio Aldobrandi, whom we encounter in Inf. 16. They are presented as being among the most admirable figures in Hell. Let us examine the scene briefly. Virgil, who so often warns Dante when the latter begins to admire or become sympathetic (or overly concerned with) the damned, here is urgent in his approbation of these three sinners: "a costor si vuole esser cortese." This is the only time in Hell in which cortesia is mentioned as a fitting response to the damned except for Beatrice's and Dante's use of "cortese" for Virgil (Inf. 2.58, 2.134). The following tercet only emphasizes the guide's appreciation of their worthiness.
ellauri072.html on line 216: As we see in Inferno 15-16, in Hell Dante damns sodomites as sinners of violence against nature. Nonetheless, even in his Hell, where Dante does not go so far as to include homosexuals as unrepentant lustful in the second circle, he still desexualizes his treatment of sodomy. What do we learn from all this? Yet the fact that here, as in Purg. 26, he chooses to put homosexuals in a good light when there was no apparent compelling reason for him to do so surely should cause us to ask further questions about Dante's views concerning homosexuality. Varmaan se oli homo izekin, Beatrice or no Beatrice. Sixkai sille riitti vaan ulista siitä Beatricesta. Satis enim dictum erat de tam obscena et tam spurca materia.
ellauri095.html on line 455: Their rivalry began with Hopkins’s response to her poem “The Convent Threshold.” Geoffrey Hartman was clearly on the right track when he suggested in the introduction to Hopkins: A Collection of Critical Essays (1966) that “Hopkins seems to develop his lyric structures out of the Pre-Raphaelite dream vision. In his early ‘A Vision of the Mermaids’; and ‘St. Dorothea’; he may be struggling with such poems as Christina Rossetti’s ‘Convent Threshold’; and Dante Gabriel Rossetti’s ‘The Blessed Damozel,’ poems in which the poet stands at a lower level than the vision, or is irrevocably, pathetically distanced.” Such poems were the essence of medievalism in poetry according to William Morris, who felt that Keats’s “La Belle Dame Sans Merci” was the germ from which all Pre-Raphaelite poetry sprang. Standing beyond Keats, however, the primary source was Dante. Christina Rossetti clearly alludes to Beatrice’s appeal to Dante in “The Convent Threshold”:
ellauri095.html on line 467: Danten Beatrice oli muuten pelkkää toiveajattelua, Alighierin märkä uni vaan. Joku vastaantulija Firenzen kadulla joka ei olisi erottanut Dantea Aku Ankasta:
ellauri095.html on line 469: Scholars have long debated whether the historical Beatrice is intended to be identified with either or both of the Beatrices in Dante´s writings. She was apparently the daughter of the banker Folco Portinari, and was married to another banker, Simone dei Bardi. Dante claims to have met a "Beatrice" only twice, on occasions separated by nine years, but was so affected by the meetings that he carried his love for her throughout his life.
ellauri095.html on line 471: Talk of sublimation. Näki Beatricen kalsareita pakkasella kuivumassa, niistä nousi härmistystä, Danten pelihousuissa nousi vastavaikutus. Dante sijoitti suklaaosaston alimpaan helvettiin, todennäköisesti homofoobisena.
ellauri095.html on line 479: Mixei Hilja Haahti ollut näistä tietonen? Tai ehkä olikin, mutta nehän oli paavilaisia. Ja mixei se maalauttanut prerafaeliittojen jäljennöxiä? Oliko ne liian snobeja? Ainakaan ne ei ole suomalaisia, virsut puuttuvat. Tästä veli-Rossettin Beatricen kuvasta se olis silti voinut tykätä, siinä on berninimäistä orgastista fiilistä.
ellauri141.html on line 765: During his American exile, he wrote his long poems Exil, Vents, Pluies, Neiges, Amers, and Chroniques. He remained in the US long after the end of the war. He travelled extensively, observing nature and enjoying the friendship of US Attorney General Francis Biddle and his spouse, philanthropist Beatrice Chanler, and author Katherine Garrison Chapin. He was on good terms with the UN Secretary General and author Dag Hammarskjöld whose plain crashed in suspicious circumstances in 1961, just after Pink Panther got his Nobel prize. Foul play?
ellauri184.html on line 46: After graduating in 1943, Mailer married his first wife Beatrice "Bea" Silverman in January 1944, just before being drafted into the U.S. Army. Hoping to gain a deferment from service, Mailer argued that he was writing an "important literary work" which pertained to the war. This deferral was denied, and Mailer was forced to enter the Army. After training at Fort Bragg, Mailer was stationed in the Philippines with the 112th Cavalry. Merihevosilla varmaan mentiin.
ellauri184.html on line 58: Mailer's first marriage was to Beatrice Silverman. They eloped in January 1944 because neither family would likely have approved. They had one child, Susan, and divorced in 1952 because of Mailer's infidelities with Adele Morales.
ellauri244.html on line 602: Miller married his first wife, Beatrice Sylvas Wickens, in 1917, at 26; their divorce was granted on December 21, 1923, due to the 7-year itch. Together they had a daughter, Barbara, born in 1919.
ellauri244.html on line 603: Unclear which of them was the junior. According to Who dated who, Beatrice Sylvas Wickens and Henry Miller are divorced after a marriage of 105 years. According to our records, Beatrice Sylvas Wickens is possibly single.
ellauri244.html on line 605: In 1923, while he was still married to Beatrice, Miller met and became enamored of a mysterious dance-hall ingénue who was born Juliet Edith Smerth but went by the stage-name June Mansfield. She was 21 at the time, 11 years his junior. They began an affair, and were married on June 1, 1924.
ellauri256.html on line 357: “Some call her the second Beatrice, a wise inspirer, Mayakovsky's kindred spirit. Others, a mercenary witch, a vampire, who attached herself to the troubled genius, to his fame and money, and who drove him to suicide,” present-day biographers write about her. Actually she was a little of both.
ellauri300.html on line 416: Det låg böcker på ett bord utanför. Vad var det for böcker? Vad handlade de om? Han slog upp en bok på måfå och läste. "Hennes mor var en ambitiös kvinna. Hon ville skaffa en make åt Beatrice som kunde skämma bort henne och som i någon mån kunde återge familjen dess tidigare sociala ställning."
xxx/ellauri044.html on line 427: worlds, the bird, Beatrice, Mother Eve and Demian himself are the
xxx/ellauri087.html on line 194: Saarinen oli törmännyt vauvaan ja isään myöhemmin Café Engelissä, kun hän oli ollut lukemassa lapsipsykiatri Beatrice Beeben kirjaa. Vauvalle ja Saariselle oli syntynyt yhteys, joka oli käsitteellisen ajattelun ulkopuolella. Eskin mielestä vauva oli ihan isän näköinen. No ei, se muistutti sekin Vesa Pallasvesaa.
xxx/ellauri123.html on line 702: Vladin hobby oli neitoperhosten nappaaja, se haaveili nymfettejä, sanallisesti ainakin. Isolla karvaisella kyrvällään se naulasi niitä näytelaatikoihin. Nykyään sitä sanotaan pedofiliaxi ja sitä pahexutaan. Kiistellään onko silikonisista lapsisexiroboteista apua vaiko enemmänkin haittaa. Humbert Humbert näkee polluutiounia tytöistä joilla on vasta alkamassa menstruaatio. Tytöillä menstruaatio ja pojilla polluutio. Raahab oli portto 10v ikäisenä. Danten Beatrice oli 9v ja Petrarcan Laura 12vee. Tää kuulostaa ihan Jean-Jacquesilta, käkikellomaan tirkistelevältä rusakolta. Poser un lapin.
xxx/ellauri356.html on line 600: ”Tuho oli minun Beatriceni. » (Mallarmé)
xxx/ellauri357.html on line 487: Roomassa Shelley oli huonossa kunnossa, ja hänellä oli todennäköisesti munuaistulehdus ja tuberkuloosi, joka oli myöhemmin remissiossa. Roomassa kynäilty "Cenci" on runodraama raiskauksesta, murhasta ja insestistä, joka perustuu Rooman renessanssin kreivi Cencin ja hänen tyttärensä Beatricen tarinaan. Shelley sai näytelmän valmiiksi syyskuussa ja ensimmäinen painos julkaistiin samana vuonna. Siitä tuli yksi hänen suosituimmista teoksistaan ja ainoa, jolla on ollut kaksi valtuutettua painosta hänen elinaikanaan.
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