ellauri046.html on line 192: He was a "very stern man, to all appearances dry and prosaic, but under his 'rustic cloak' demeanor he concealed an active imagination which not even his great age could blunt". He was also interested in philosophy and often hosted intellectuals at his home.The young Kierkegaard read the philosophy of Christian Wolff. He also preferred the comedies of Ludvig Holberg, the writings of Johann Georg Hamann, Gotthold Ephraim Lessing, Edward Young, and Plato.
ellauri083.html on line 90: WALSH: I had not known that my mother had written this in the last year or two of her life. And I certainly did not know that someone had spirited the manuscript out of a home in which she lived her last years in Vermont and had concealed it from me and the family for 40 years.
ellauri089.html on line 96: When Robert A. Heinlein opened his Colorado Springs newspaper on April 5, 1958, he read a full-page ad demanding that the Eisenhower Administration stop testing nuclear weapons. The science fiction author was flabbergasted. He called for the formation of the Patrick Henry League and spent the next several weeks writing and publishing his own polemic that lambasted "Communist-line goals concealed in idealistic-sounding nonsense" and urged Americans not to become "soft-headed".
ellauri115.html on line 412: Rousseau was already seized with the glimmerings of a plot; he warned his Swiss friends that his letters were being intercepted and his papers in danger. By June, the plot was starkly clear to him in all its ramifications - and at its centre was Hume. On June 23, he rounded on his saviour: "You have badly concealed yourself. I understand you, Sir, and you well know it." And he spelled out the essence of the plot: "You brought me to England, apparently to procure a refuge for me, and in reality to dishonour me. You applied yourself to this noble endeavour with a zeal worthy of your heart and with an art worthy of your talents." Hume was mortified, furious, scared. He appealed to Davenport for support against "the monstrous ingratitude, ferocity, and frenzy of the man".
ellauri197.html on line 460: In darkness long concealed Meiltä (siis teiltä) pimitetyt,
ellauri406.html on line 265: In the Chinese province of Xinjiang, a police road sign informs drivers that driving on this side of the road is prohibited and violators will be fined. Chinese and Uyghur characters are used simultaneously. This is referred to in the West as “cultural genocide”. The real cultural genocide in Ukraine is being covered up, concealed, justified or glossed over by the morally bankrupt Western politicians and media, as is the biggest physical genocide of recent times on occupied Palestinian land.
ellauri434.html on line 193: Bulgakov’s canonisation is also perpetuated in UK universities. As a new lecturer, I was taken to task by a senior colleague for including Collaborators in an undergraduate comparative literature course on political drama. How could I present students with Hodge’s nasty falsehoods about a great anti-Soviet writer? I agreed to repair the damage by pairing Collaborators with Andrew Upton’s The White Guard, a version in English of Bulgakov’s play The Day of the Turbins. Confusingly, Upton gave his version the name of the Bulgakov’s novel, The White Guard, on which The Day of the Turbins is based. That was the novel, intended to be a War and Peace for the twentieth century, that Bulgakov hoped to finish during his visit to Kyiv in 1923. Set in the years of civil war that followed the 1917 revolution, it depicts a principled and loving Russian Empire family, the Turbins, who are beset on all sides by invading forces, political opportunists, avant-garde writers, and brutish Ukrainian nationalists. By 1925, only two thirds of the novel had been published when the journal in which it was serialised was shut down. Undeterred, Bulgakov began to adapt the novel as a play for the Moscow Arts Theatre. While very popular, The Day of the Turbins was more akin to pre-revolutionary Chekhov than the dystopian dramas, propagandistic mass spectacles, and constructivist films set on Mars of its time. The play’s survival into the 1940s was probably facilitated by means of an ambiguous musical conclusion: the arrival of the Red Army in Kyiv and singing of the Internationale could be at once sinister, ironic, or celebratory. Where Stalin and the censors were certain that the play celebrated Bolshevik power, my colleague was convinced that the ending demonstrated Bulgakov’s concealed and stalwart opposition to the same.
xxx/ellauri086.html on line 612: Alone together, the narrator asks Dupin how he found the letter. Dupin explains the Paris police are competent within their limitations, but have underestimated with whom they are dealing. The prefect mistakes the Minister D— for a fool because he is a poet. (Siis kumpi on? Perfekti vai ministeri Dee? No Poe on ainakin, senhän sanoo nimikin, Poe-t. Ja hölmökin se on.) For example, Dupin explains how an eight-year-old boy made a small fortune from his friends at a game called Odds and Evens. The boy had determined the intelligence of his opponents and played upon that to interpret their next move. Tästä aiheesta on valtava amer. kirjallisuus, koskien vangin dilemman toistoja. He explains that D— knew the police detectives would have assumed that the blackmailer would have concealed the letter in an elaborate hiding place, and thus hid it in plain sight.
xxx/ellauri091.html on line 792: Following the conference at The Hague, two delegations, one of them headed by Emily Balch, visited neutral and belligerent countries alike to submit their resolutions to the statesmen. A polite reception was accorded to them everywhere. This is not surprising, for the statesman is as a rule polite, perhaps especially so when dealing with women, but his true thoughts inevitably remain concealed behind his inscrutable smile. The women failed to make any headway with their proposals; and this was only to be expected with things as they were.
xxx/ellauri116.html on line 392: 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/ellauri157.html on line 107: In the seventeenth century, the story of King Candaules’s wife was seen as a moral lesson, warning against violations of the marital bedchamber. The theme was treated by the poet Jacob Cats in his Toneel vande mannelicke Achtbaerheyt, in which he devoted no less than eighty-six verses to the tale of Candaules and Gyges, and illustrates the scene in the royal bedchamber with a print by Pieter de Jode after Adriaen van de Venne. In the print the Queen is seen half naked from behind. Candaules is already in bed, and the Queen looks at Gyges, who is largely concealed behind the wallhangings. The moral of the story is clarified by a scene on a smaller scale in the background, showing Candaules being slain by Gyges. The print no doubt served as an inspiration for several other later renditions of the theme in Northern Netherlandish painting, including works by Frans van Mieris the Elderv, and Eglon van de Neervi.
xxx/ellauri186.html on line 83: Beecher enjoyed the company of women, and rumors of extramarital affairs circulated as early as his Indiana days, when he was believed to have had an affair with a young member of his congregation. In 1858, the Brooklyn Eagle wrote a story accusing him of an affair with another young church member who had later become a prostitute. The wife of Beecher's patron and editor, Henry Bowen, confessed on her deathbed to her husband of an affair with Beecher; Bowen concealed the incident during his lifetime.
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