ellauri047.html on line 522: Und im rollenden Triumphe
ellauri094.html on line 654: The body of Algernon Charles Swinburne’s poetry is so vast and varied that it is difficult to generalize about it. Swinburne wrote poetry for more than sixty years, and in that time he treated an enormous variety of subjects and employed many poetic forms and meters. He wrote English and Italian sonnets, elegies, odes, lyrics, dramatic monologues, ballads, and romances; and he experimented with the rondeau, the ballade, and the sestina. Much of this poetry is marked by a strong lyricism and a self-conscious, formal use of such rhetorical devices as alliteration, assonance, repetition, personification, and synecdoche. Swinburne’s brilliant self-parody, “Nephilidia,” hardly exaggerates the excessive rhetoric of some of his earlier poems. The early A Song of Italy would have more effectively conveyed its extreme republican sentiments had it been more restrained. As it is, content is too often lost in verbiage, leading a reviewer for The Athenaeum to remark that “hardly any literary bantling has been shrouded in a thicker veil of indefinite phrases.” A favorite technique of Swinburne is to reiterate a poem’s theme in a profusion of changing images until a clear line of development is lost. “The Triumph of Time” is an example. Here the stanzas can be rearranged without loss of effect. This poem does not so much develop as accrete. Clearly a large part of its greatness rests in its music. As much as any other poet, Swinburne needs to be read aloud. The diffuse lyricism of Swinburne is the opposite of the closely knit structures of John Donne and is akin to the poetry of Walt Whitman.
ellauri146.html on line 82: Ja, was in aller Welt sitzt nun so, daß es aussieht wie ich, wenn ich Federn kaue? Wo bekomme ich hier ein schickliches Bild her? Ich will ans Fenster springen und sehen, ob ich draußen nichts Ähnliches erblicke! (Er macht das Fenster auf und sieht ins Freie.) Dort sitzt ein Junge und kackt – Ne, so sieht es nicht aus! – Aber drüben auf der Steinbank sitzt ein zahnloser Bettler und beißt auf ein Stück hartes Brot – Nein, das wäre zu trivial, zu gewöhnlich! (Er macht das Fenster wieder zu und geht in der Stube umher.) Hm, hm! fällt mir denn nichts ein? Ich will doch einmal alles aufzählen, was kauet. Eine Katze kauet, ein Iltis kauet, ein Löwe – Halt! ein Löwe! – Was kauet ein Löwe? Er kauet entweder ein Schaf, oder einen Ochsen, oder eine Ziege, oder ein Pferd – Halt! ein Pferd! – Was dem Pferde die Mähne ist, das ist einer Feder die Fahne, also sehen sich beide ziemlich ähnlich – (jauchzend.) Triumph, da ist ja das Bild! Kühn, neu, calderonisch!
ellauri155.html on line 360: But God is a lot bigger than the Rothschilds and their cabal of miscreants. Dog is nearly as big as Ano Turtiainen! Dog won't get carried out of court! Not even by Himself! God wants to have a Triumph bra as Xmas present.
ellauri198.html on line 747: Vaikeinta on Bloomin ymmärtää, mikä nalli napsahtaa Rolandille värsyssä XXIX. Bloom raahaa kekoon askeesia, metaforia ja metaleepsistä, mutta tokko niistä on tässä mitään apua. Täytyypä vilkaista Bloomin vinkkaamia runoja Keats: The Fall of Hyperion ja Shelley: The Triumph of Life. Onko nekin jotain smuttia? (Kz alempaa.)
ellauri198.html on line 892: The Triumph of Life
ellauri198.html on line 894: The Triumph of Life was the last major work by Percy Bysshe Shelley before his death in 1822. The work was left unfinished. Shelley wrote the poem at Casa Magni in Lerici, Italy in the early summer of 1822. He modelled the poem, written in terza rima, on Petrarch 's Trionfi and Dante 's Divine Comedy. Siinäkin on julkkixia jossain helvetissä. Kesken jäi. Gäsp.
ellauri378.html on line 458: "Lambeth Walk - Nazi Style", parodia propagandaelokuvasta Triumph of The Will, joka näyttää saksalaissotilaat ilmeisesti hanhiaskeleita Lambeth Walkille. Kerrotaan, että Joseph Goebbels oli niin raivoissaan nähtyään sen, että hän juoksi ulos huoneestaan potkimalla tuoleja ja huutaen kirosanoja.
xxx/ellauri157.html on line 109: Vähän siedettävämpi perätarjonta on tämä William Ettyn yritys samasta aiheesta. William Etty (1787–1849), the seventh son of a York baker and miller, had originally been an apprentice printer in Hull, but on completing his seven-year apprenticeship at the age of 18 moved to London to become an artist. Strongly influenced by the works of Titian and Rubens, he submitted a number of paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected outright or drew little attention when exhibited. In 1821 he finally achieved recognition when the Royal Academy accepted and exhibited one of his works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra). Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, beating John Constable to the position. Jordaens and Etty both contrasted Nyssia's pale flesh against dark red drapery and showed her in a similar pose. Jordaens's painting has hung in Sweden since the 17th century, and it is unlikely Etty was aware of it. Se tuskin löytyi googlaamalla.
xxx/ellauri169.html on line 199: The Church Universal and Triumphant is an international New Age religious organization founded in 1975 by Elizabeth Clare Prophet. It is an outgrowth (and is now the corporate parent) of The Summit Lighthouse, founded in 1958 by Prophet's husband, Mark L. Prophet. Its beliefs reflect features of the traditions of Theosophy and New Thought. The church's headquarters is located near Gardiner, Montana, and the church has local congregations in more than 20 countries.
xxx/ellauri252.html on line 254: Norman Corwin was Jewish, and his parents observed Judaism (his father, Sam Corwin, attended holiday services until his death at 110). While not an observant Jew, Corwin infused much of his work with the ideas of the Hebrew Prophets. One of the prayerbooks of American Reform Judaism, Shaarei Tefila: Gates of Prayer, contains a portion of the Prayer from the finale of Corwin's On a Note of Triumph (see link to full text below). Corwin was among the first producers to regularly use entertainment – even light entertainment – to tackle serious social issues.
xxx/ellauri312.html on line 862: Triumphgang, wird genennet, der Sonne gleich riemusaatto, kuzuu auringonkaltaisexi
12