ellauri051.html on line 1713: 1103 Dancing yet through the streets in a phallic procession, rapt and austere in the woods a gymnosophist, 1103 Tanssii silti katujen halki fallisessa kulkueessa, raivoissaan ja ankarasti metsässä voimistelija,
ellauri053.html on line 916: The life led by both pupils and teachers was not only simple but almost austere. The ideal of Brahmacharya was the keynote of everything. The yellow uniform, which covered up the poverty of clothes; a pair of blankets, which served as our only bedding; the vegetarian meals comparable to jail diet in their dull monotony — these were the standards laid down.
ellauri095.html on line 171: Hopkins chose the austere and restrictive life of a Jesuit and was gloomy at times. His biographer Robert Bernard Martin notes that "the life expectancy of a man becoming a novice at twenty-one was twenty-three more years rather than the forty years of males of the same age in the general population."
ellauri095.html on line 218: Hopkins chose the austere and restrictive life of a Jesuit and was gloomy at times. His biographer Robert Bernard Martin notes that "the life expectancy of a man becoming a novice at twenty-one was twenty-three more years rather than the forty years of males of the same age in the general population."
ellauri191.html on line 2080: "for her unmistakable poetic voice that with austere beauty makes individual existence universal"
ellauri241.html on line 650: And with calm-planted steps walk'd in austere; ja tyynein askelin käveli sisään koruttomasti;
xxx/ellauri116.html on line 391: Bienenfeld, who was Jewish, later narrowly escaped the Nazi occupation of France. Neither de Beauvoir nor Sartre tried to find her. When she read “Letters to Sartre” and saw the flippant tone the pair took toward her, she said, “Their perversity was carefully concealed beneath Sartre’s meek and mild exterior and the Beaver’s serious and austere appearance. In fact, they were acting out a commonplace version of ‘Liaisons Dangereuses’”.
xxx/ellauri137.html on line 204: Majas on a Balcony 1800-1810 is one of the many genre paintings by Goya portraying scenes from contemporary life. The physical setting is an azotea or balcony, a characteristic appendage of Spanish houses and an integral part of social life and character in the towns and cities of Goya's country. The features and props of the setting are confined to an iron railing with vertical grills, a very austere structure (compared to the rich elaborate grill-work of which we are accustomed to think as flourishing in Spain, or at least in New Orleans), which alludes to the socio-economic character of the house; the edge of the floor; some chairs - rather inelegant - one of which has cheap wicker matting; and in the background, a bare wall, a only proof of whose presence is a shadow to the extreme right suggesting a material surface.
xxx/ellauri224.html on line 369: It is clear that Eliot would have preferred to live in a society in which it was not even possible to ask awkward spiritual questions. He grew up under an austere Unitarianism and moved to a high Anglicanism – not because he disliked the doctrinal certainties of the Catholic church, but because Anglicanism meant he could amalgamate religious certainty with a high Tory monarchism that regarded even the rise of the Tudors as a dilution of the divine right of kings. (He mourned Richard III each year with a white rose in his lapel). His antisemitism was expressed in visceral terms but at root it was free-thinking he thought should have little place in a good society as much as the Jews he identified it with.
9