ellauri002.html on line 1968: April is the cruellest month, breeding

ellauri014.html on line 213: Diderot later described Rousseau as being "false, vain as Satan, ungrateful, cruel, hypocritical, and wicked... He sucked ideas from me, used them himself, and then affected to despise me".
ellauri014.html on line 1040: Alors il me remit la lettre. Elle était de Laure. Je ne l’ouvris pas sans émotion. « L’amour a vaincu, me disait-elle ; vous avez voulu m’épouser ; je suis contente. Votre ami m’a dicté mon devoir ; je le remplis sans regret. En vous déshonorant, j’aurais vécu malheureuse ; en vous laissant votre gloire, je crois la partager. Le sacrifice de tout mon bonheur à un devoir si cruel me fait oublier la honte de ma jeunesse. Adieu, dès cet instant je cesse d’être en votre pouvoir et au mien. Adieu pour jamais. O Edouard ! ne portez pas le désespoir dans ma retraite ; écoutez mon dernier vœu. Ne donnez à nulle autre une place que je n’ai pu remplir. Il fut au monde un cœur fait pour vous, et c’était celui de Laure. »
ellauri020.html on line 364: Palm Beach had been Ivana Trump’s idea. Long ago, Donald had screamed at her, “I want nothing social that you aspire to. If that is what makes you happy, get another husband!” But she had no intention of doing that, for Ivana, like Donald, was living out a fantasy. She had seen that in the Trump life everything and everybody appeared to come with a price, or a marker for future use. Ivana had learned to look through Donald with glazed eyes when he said to close friends, as he had in the early years of their marriage, “I would never buy Ivana any decent jewels or pictures. Why give her negotiable assets?” She had gotten out of Eastern Europe by being tough and highly disciplined, and she had compounded her skills through her husband, the master manipulator. She had learned the lingua franca in a world where everyone seemed to be using everyone else in a relentless drive for power. How was she to know that there was another way to live? Besides, she often told her friends, however cruel Donald could be, she was very much in love with him.
ellauri029.html on line 916: The Corinthians would not have considered Paul’s language intentionally cruel. Instead, they would have recognized Paul was using rhetoric to make a point. The Corinthians felt superior to Paul, casting judgment on him. So he calls them spiritual kings and says, ironically, that God considers His apostles “scum” and “dregs.”
ellauri029.html on line 926: We should speak the truth with loving intent (Ephesians 4:15), avoiding “foolish talk or coarse joking” (Ephesians 5:4). We should speak in such a way that the hearer will understand our motivation. And we should never be malicious or cruel. Carefully worded irony may be fitting, but malicious sarcasm is not.
ellauri035.html on line 1150: Nada de indignación moral, cuyo sentimiento vindicativo me parece en el fondo una forma de crueldad. Gracián jamás se indigna, lo que noquiere decir precisamente que sea insensible.
ellauri041.html on line 1832: April is the cruellest month, breeding

ellauri042.html on line 657: An anecdote in "A Letter from Mr. Cibber, to Mr. Pope", published in 1742, recounts their trip to a brothel organised by Pope's own patron, who apparently intended to stage a cruel joke at the expense of the poet. Since Pope was only about 4' tall, with a hunchback, due to a childhood tubercular infection of the spine, and the prostitute specially chosen as Pope's 'treat' was the fattest and largest on the premises, the tone of the event is fairly self-apparent. Cibber describes his 'heroic' role in snatching Pope off of the prostitute's body, where he was precariously perched like a tom-tit, while Pope's patron looked on, sniggering, thereby saving English poetry. While Cibber's elevation to laureateship in 1730 had further inflamed Pope against him, there is little speculation involved in suggesting that Cibber's anecdote, with particular reference to Pope´s "little-tiny manhood", motivated the revision of hero.
ellauri048.html on line 1232: O Sorrow, cruel fellowship, Oi suru, julma veljeskunta,
ellauri049.html on line 689: Un Ennui, désolé par les cruels espoirs, Ikävyys, julman toiveajattelun hylkäämä,
ellauri052.html on line 654: There were two Krishnamurtis. One was the persona presented to the world through lectures and books; a man without ego who led a sanctified life of celibacy and high moral purity. The other Krishnamurti was a shadowy, self-centered, vain man, capable of sudden angers and enormous cruelty to friends. He was also a habitual liar. Krishna, as his friends called him, freely admitted his compulsive lying. He blamed it on simple fear of having his deceptions detected.
ellauri062.html on line 100: Fred, a retired psychologist who had a very successful practice, now makes rude and cruel comments to those around him. One of his strengths before Alzheimer's had been his kindness and ability to relate to others.
ellauri062.html on line 640: Tantus labor non sit cassus. nyt jo anna anteeksi. Työtä älä hukkaan heitä. Now 'twere cruel if I failed thee.
ellauri062.html on line 672: Judicandus homo reus. Tuomittava syypää homo. Men come forth, O be not cruel:
ellauri066.html on line 257: However, in scripture Rachel became fertile eventually and bore Jacob two biological children, Benjamin and Joseph. This aspect of the story, which is not in the show, actually makes Gilead's handmaid/forced surrogate system seem even more cruel and archaic and emphasizes even more the barbarity and evil of the despotic dogma that is the basis of the theocratic Gilead regime."
ellauri082.html on line 101: The biography by Tyrannosaurus Max paints a less than flattering portrait of Wallace. That’s not to say it’s a vicious takedown—it’s probably about as even-handed as a biography about the author is going to be, and I can imagine books about him in the future being a lot less level-headed in either direction. Basically, DFW was an extremely troubled individual and probably not a very awesome person qua person. He was often misanthropic, violent, cruel (especially to women), and self-absorbed. But what’s great about the biography is how it allows these rather hideous characteristics to disgust as well as inform; knowing the uglier aspects of DFW’s personality is extremely enlightening with regard to his work. It seems to me that the writer was extremely aware of his immense character flaws and sought in his work (his novels and his non-fiction particularly) to overcome them, and in his work he was able to occupy a wholly different realm than he was in his actual life. Well actually not at all that different. The books project a rather nasty person too.
ellauri106.html on line 631: No one can accuse Roth of ever hiding who he was: American, Jewish, obsessed with sex, obsessed with death, funny, angry, wise, profane, imaginative, cruel. That is what cruel readers always liked about him.
ellauri110.html on line 135: It is possible to interpret the Houyhnhnms in a number of different ways. One interpretation could be a sign of Swift's liberal views on race, or one could regard Gulliver's preference (and his immediate division of Houyhnhnms into color-based hierarchies) as absurd and the sign of his self-deception. It is now generally accepted that the story involving the Houyhnhnms embody a wholly pessimistic view of the place of man and the meaning of his existence in the universe. In a modern context the story might be seen as presenting an early example of animal rights concerns, especially in Gulliver's account of how horses are cruelly treated in his society and the reversal of roles. The story is a possible inspiration for Pierre Boulle's novel Planet of the Apes.
ellauri111.html on line 255: As I’d had to admit, I hadn’t read The Diary of a Writer (actually a kind of journal that Dostoevsky published monthly and that consisted entirely of his own thoughts about issues of the day), but I did know that he had been involved in several criminal cases, some of which were about the kind of cruelty to children that Ivan Karamazov cited as evidence against the existence of God. I couldn’t remember any details, though. I felt rather like a student who hasn’t done his homework hoping that he’s not the one going to be asked the next question. Only there wasn’t anyone else to ask. In the event, Fyodor Mikhailovich let me off fairly gently.
ellauri115.html on line 387: Wounded feelings gave rise to a bitter three-way quarrel between Rousseau and Madame d'Épinay; her lover, the journalist Grimm; and their mutual friend, Diderot, who took their side against Rousseau. Diderot later described Rousseau as being "false, vain as Satan, ungrateful, cruel, hypocritical, and wicked... He sucked ideas from me, used them himself, and then affected to despise me".
ellauri115.html on line 1085: Lidija Rangelovska is the owner and CEO of Narcissus Publications and the editor of Sam Vaknin's works, including of "Malignant Self-love: Narcissism Revisited" as well as many other books and ebooks about topics in psychology, relationships, philosophy, economics, international affairs, and award-winning short fiction. She lives in Skopje with her husband, Sam Vaknin. She featured in other documentaries together with her husband ("Egomania" by channel 4 in the UK and "Moi, narcissique et cruel" on Radio-Television Suisse).
ellauri118.html on line 733: In this so Am´rous cruel strife, Tässä julman lemmekkäässä taistossa
ellauri118.html on line 1008: In one particularly cruel scene, Serena takes Offred to see that her daughter is alive. That doesn't happen in the book.
ellauri140.html on line 178: Wrath (M) – He carries a branding iron and a dagger as he rides a lion. His clothes are ripped and contain blood stains. He acts quickly in fits of rage, but often repents; "Ne car'd for blood in his avengement: / But when the furious fitt was overpast, / His cruel facts he often would repent. Vihan vika ei ole vihaaminen as such, vaan äkkipikasuus, harkinnan puute. Don't get mad, get even. Olkaa viattomia kuin pulut ja kavalia kuin käärmeet.
ellauri140.html on line 310: The cruel markes of many'a bloudy fielde; Monta valkovuotoa ja verijälkeä.
ellauri140.html on line 387: Seemd in their song to scorne the cruell sky. Taisivat pilaa tehdä taivaasta.
ellauri140.html on line 892: Shall I accuse the hidden cruell fate, Syytänkö mää piileviä ja julmaa Darwinta,
ellauri143.html on line 910: By punishment of death the cruel to restrain,

ellauri143.html on line 1566: I grieve, 'tis pain to me to hear him cruel chid,

ellauri143.html on line 1570: I am greatly pained to hear you call him a cruel man, just because your shoulders are reduced and your bracelets loosened. Tää selitys on aika törkeä! Eli poinzi on, että syytä ämmä vaan izeäsi kun olet rupsahtanut, ei se ole äijän vika.
ellauri145.html on line 68: Breton meni naimisiin kolme kertaa. Ensin hän avioitui Simone Kahnin kanssa syyskuussa 1920. Toisen vaimon, Jacqueline Lamban, kanssa hänellä on Aube-niminen tytär. Kolmas vaimo on nimeltään Elisabeth Claro. Breton kuoli 28.9.1966 ja hänet haudattiin Batignolles’n hautausmaalle Pariisiin. Hautakiveen on kaiverrettu teksti ”Je cherche l’or du temps” (”Etsin koko ajan kultaa”). Bretonin leski ja tytär yrittivät tarjota osoitteessa 42 rue Fontaine sijainneen ateljeen taidekokoelmia Ranskan valtion lunastettavaksi, mutta valtio ei halunnut ostaa Bretonin yksityiskokoelmaa. Bretonin jäämistö huutokaupattiin keväällä 2003. No entäs tämä Soupault? Silläkin oli 3 vaimoa. Hän jäi unohduksiin samalla kun hän kirjoitti unohduksesta mutta sai jälleen 1980-luvulla huomiota ja palkintoja, ja teoksista otettiin uusia painoksia. Comme il le racontera dans ses entretiens sur France Culture, il rencontra même par hasard dans un ascenseur Hitler et son aide de camp. Il regrettera de ne pas avoir eu un revolver à ce moment-là. De même, il croisa un jour Staline et fut surpris par l´expression cruelle de son visage. Ce jour-là, il le vit boire 24 vodkas dans une réception mais on lui affirma que Staline les jetait discrètement sans les boire.
ellauri145.html on line 356: Ne distrait plus le front de ce cruel malade ; Ei julman sairaan oza enää siliä,
ellauri150.html on line 647: ... And it's time for the big setpiece, the Chariot Race! The first rule of the Chariot Race is: there are no rules. A demolition derby is entirely standard procedure. That's how Messala gets to have a chariot tricked out with blades on the wheels-- vroom! But does that shake Ben-Hur? No! He will have his vengeance. As the race starts, the two of them are neck-and-neck. Messala tries to destroy Ben-Hur's chariot, but in a cruel twist, his own chariot falls apart. Messala is dragged by his horses and viciously trampled by another team. As Messala's broken body is carried to the surgeon, Ben-Hur receives the victor's laurel crown.
ellauri163.html on line 724: As PZ himself said: "I took the test and scored a 24, an “average math contest winner.” You need a 32 to suggest Asperger’s, and a 15 is the average. So there. I don’t have Asperger’s, I’m just cruel and insensitive."
ellauri171.html on line 572: Cursed be their anger, for it is fierce,and their wrath, for it is cruel!
ellauri171.html on line 757: There is something particularly cruel about this slaughter of the innocents. It was done by people the boys had grown to trust, but who now hunted them down and killed them violently.
ellauri172.html on line 666: Le major Ydow tomba dans une de ces rages qui déshonorent le caractère d’un homme, et cribla la Pudica d’injures ignobles, d’injures de cocher. Je crus qu’il la rouerait de coups. Les coups allaient venir, mais un peu plus tard. Il lui reprocha, — en quels termes ! d’être… tout ce qu’elle était. Il fut brutal, abject, révoltant ; et elle, à toute cette fureur, répondit en vraie femme qui n’a plus rien à ménager, qui connaît jusqu’à l’axe l’homme à qui elle s’est accouplée, et qui sait que la bataille éternelle est au fond de cette bauge de la vie à deux. Elle fut moins ignoble, mais plus atroce, plus insultante et plus cruelle dans sa froideur, que lui dans sa colère. Elle fut insolente, ironique, riant du rire hystérique de la haine dans son paroxysme le plus aigu, et répondant au torrent d’injures que le major lui vomissait à la face par de ces mots comme les femmes en trouvent, quand elles veulent nous rendre fous, et qui tombent sur nos violences et dans nos soulèvements comme des grenades à feu dans de la poudre. De tous ces mots outrageants à froid qu’elle aiguisait, celui avec lequel elle le dardait le plus, c’est qu’elle ne l’aimait pas — qu’elle ne l’avait jamais aimé : « Jamais ! jamais ! jamais ! » répétait-elle, avec une furie joyeuse, comme si elle lui eût dansé des entrechats sur le cœur ! — Or, cette idée — qu’elle ne l’avait jamais aimé — était ce qu’il y avait de plus féroce, de plus affolant pour ce fat heureux, pour cet homme dont la beauté avait fait ravage, et qui, derrière son amour pour elle, avait encore sa vanité ! Aussi arriva-t-il une minute où, n’y tenant plus, sous le dard de ce mot, impitoyablement répété, qu’elle ne l’avait jamais aimé, et qu’il ne voulait pas croire, et qu’il repoussait toujours :
ellauri184.html on line 528: Classical, Hellenistic, and Roman culture found circumcision to be cruel and repulsive. In the Roman Empire, circumcision was regarded as a barbaric and disgusting custom. The consul Titus Flavius Clemens was condemned to death by the Roman Senate in 95 CE for, according to the Talmud, circumcising himself and converting to Judaism. The Emperor Hadrian (117–138) forbade circumcision. Overall, the rite of circumcision was especially execrable in Classical civilization, also because it was the custom to spend an hour a day or so exercising nude in the gymnasium and in Roman baths, therefore Jewish men did not want to be seen in public deprived of their foreskins.
ellauri189.html on line 89: to them, they turned (in 1648) against their former rulers. The vicissitudes of a series of risings, during which both sides committed unspeakable cruelties, were often shown in the “frenetic” tales and dramas of the younger contemporaries
ellauri189.html on line 596: If one analyses the characters of the protagonists, however, one realises that Panahi is merely reinforcing ingrained, religiously patriarchal prejudices against women, who are consistently portrayed as weak, hysterical, cruel, illogical, too emotional and treacherous.
ellauri190.html on line 275: In 1648, a Kozak leader called Zinoviy Bohdan Khmelnytsky (Polish transliteration, Chmielnicki) started a war on the Polish crown. Initially, it was his own personal vendetta on a Polish landlord who stole his land, but very soon it grew into a colossal uprising of the Kozaks and Ukrainian peasants against their Polish landlords. The people fought (the way they knew how) against the feudal oppression, as well as against forced Catholicization and Polonization of Ukraine. Unfortunately, it turned into a fratricide. (Sorry Poles, of course we are on the same side now.) The main adversary of Khmelnytsky was Prince Yarema (Jeremiah) Korybut-Vyshnevetsky, a Rusyn-Ukrainian, a noble valiant knight and a great statesman who, nonetheless, kept his allegiance to the Polish king (whom he personally hated, but could not break his knight’s oath of loyalty). Both sides resorted to unspeakable cruelties. Most tragically, Khmelnysky, a brave warrior as he was, turned out to be a horribly short-sighted politician. In January 1654, he essentially surrendered Ukraine to Muscovy, approving what he thought was a temporary military union against the Republic but turned out to be the beginning of the “Russian” (actually Muscovite) occupation of Ukraine. It just goes to show: give a pinky finger to the Russkies and they take the whole hand.
ellauri196.html on line 841: The academicians of Stockholm have often (though not always) said no to intolerance, cruel fanaticism and that persecuting spirit which turns the strong against the weak, oppressors against the oppressed, rather than the other way round. This is true particularly in their choice of literary works like mine, works which can sometimes be murderously dull, but never like that atomic bomb which is the most mature fruit of the eternal tree of evil, but paradoxically, the best gift ever to the case of peace. It kept Europeans from murdering each other for almost 100 years.
ellauri203.html on line 225: Appolinaria Suslova was perhaps the woman who hurt Dostoevsky most. According to Slonim: “He winced while calling her name, he was in communication with her while married; he always depicted her in his novels. Until his death he remembered her caress and slaps in the face. He was devoted to this seductive, cruel, unfaithful and tragic love.”
ellauri203.html on line 450: credulity and the same cruelty, the same lust of blood, of gold, of
ellauri203.html on line 458: cruel: 'None doth offend,' which in other words means: 'None is without
ellauri210.html on line 782: After the war, Tanguy is sent back to Spain, Barcelona where he learns that his grandmother has recently passed away and there is no one else to take care of him. He is sent to a reformation school for juvenile delinquents and orphans, run by priests who are no less cruel and sadist than the Nazi "kapos." Bitter, Tanguy believes they are worse than the Nazis because these priests hide their sadism behind the facade of religion and confession, but that makes their sin no less. He succeeds in escaping along with a "companion," but is forced to separate from his as well. This time around, he finds himself in a school run by a group of priests but unlike the reformation school, here, Tanguy is able to grow, learn and live comfortably. It is here, that he truly flourishes and finds friends and solace. But he is still not completely at peace and sets off again in search of the parents who had abandoned and forsaken him to such a bitter destiny. He does find them eventually, but only to realise that the years of hardship and horror experienced by him have built an impenetrable barrier between them. He is no longer a left wing radical like them. He has learned not to hate the capos. Don't get mad get even. LOL.
ellauri210.html on line 1325: Joyce Mansour y Gisèle Prassinos crean bellos monstruos. Han sustituido la belleza convencional dando prioridad a esta “laideur” que está en comunión con la crueldad y el erotismo, siempre rodeada de una pátina macabra. Las dos autoras, bajo esta categoría estética han dado paso a un viaje interior, el que proporcionan sus seres deformes, enfermos, en un ejercicio catártico. El objetivo será para las dos el mismo: exorcizar el miedo, la muerte y la angustia.
ellauri221.html on line 103: cruel and inhumane law. He switched immediately to drinking only Tittinger.
ellauri222.html on line 211: But “Ravelstein” is a revenge novel, too. It’s not really about Ravelstein/Bloom. It’s about the narrator, a writer named Chick, who has been treated cruelly by his wife, Vela, a beautiful and brilliant physicist—a wicked caricature of Bellow’s fourth wife, the mathematician Alexandra Ionescu Tulcea. There are also a couple of drive-by take-downs along the way—of Mircea Eliade, a historian of religion at Chicago rumored to have been involved in the fascist Romanian Iron Guard, and of the owner of a restaurant on St. Martin, in the Caribbean, where Bellow contracted a case of food poisoning that nearly killed him. He brings them into the story just to skewer them.
ellauri222.html on line 257: For a man for such small balls, he had huge needs. The writing life needed to be supported. He failed his children; he left them, and it was a wound he carried around like a medal. He knew the cruelty of this. At the very end, though he was not Rosie's father (oops), he was in the house. He and Rosie would watch The Lion King together: in the final, unpleasant stages of his last illness, he was at the point where he didn't mind watching that same film over and over. I was somehow managing Rosie and Saul in the same way." Do they have a relationship with Saul's sons? Not really. Rosie has special needs, and Jänis is focused very much on her. Their house is cozy, not grand, there just happen to be photographs of a Nobel laureate on almost every shelf. Guess which one?
ellauri223.html on line 84: Capt. Their food consists of flesh, butter, honey, cheese, garden herbs, and vegetables of various kinds. They were unwilling at first to slay animals, because it seemed cruel; but thinking afterward that is was also cruel to destroy herbs which have a share of sensitive feeling, they saw that they would perish from hunger unless they did an unjustifiable action for the sake of justifiable ones, and so now they all eat meat. Nevertheless, they do not kill willingly useful animals, such as oxen and horses. They observe the difference between useful and harmful foods, and for this they employ the science of medicine. They always change their food. First they eat flesh, then fish, then afterward they go back to flesh, and nature is never incommoded or weakened. The old people use the more digestible kind of food, and take three meals a day, eating only a little. But the general community eat twice, and the boys four times, that they may satisfy nature. The length of their lives is generally 100 years, but often they reach 200.
ellauri236.html on line 188: I have already outlined the plot, but the subject-matter is much more sordid and brutal than this suggests. The book contains eight full-dress murders, an unassessable number of casual killings and woundings, an exhumation (with a careful reminder of the stench), the flogging of Miss Blandish, the torture of another woman with red-hot cigarette-ends, a strip-tease act, a third-degree scene of unheard-of cruelty and much else of the same kind. It assumes great sexual sophistication in its readers (there is a scene, for instance, in which a gangster, presumably of masochistic tendency, has an orgasm in the moment of being knifed - I can relate to that!), and it takes for granted the most complete corruption and self-seeking as the norm of human behaviour. The detective, for instance, is almost as great a rogue as the gangsters, and actuated by nearly the same motives. Like them, he is in pursuit of ‘five hundred grand’. It is necessary to the machinery of the story that Mr. Blandish should be anxious to get his money back, but apart from this, such things as affection, friendship, good nature or even ordinary politeness simply do not enter. Nor, to any great extent does normal sexuality. Ultimately only one motive is at work throughout the whole story: the pursuit of power. (Well, there is also the pursuit of spaghetti and some twat.)
ellauri236.html on line 190: It should be noticed that the book is not in the ordinary sense pornography. In this respect it is a flop. Unlike most books that deal in sexual sadism, it lays the emphasis on the cruelty and not on the pleasure. Slim, the ravisher of Miss Blandish, has ‘wet slobbering lips’: this is meant to be disgusting (tho I didn't find it so). But the scenes describing cruelty to women are comparatively perfunctory. The real high-spots of the book are cruelties committed by men upon other men; above all, the third-degreeing of the gangster, Eddie Schultz, who is lashed into a chair and flogged on the windpipe with truncheons, his arms broken by fresh blows as he breaks loose. My conclusion: Chase is a closet homosexual (I should know)! He's an algolagniac, like Swinburne!
ellauri236.html on line 192: In another of Mr. Chase's books, He Won't Need It Now, the hero, who is intended to be a sympathetic and perhaps even noble character, is described as stamping on somebody's face, and then, having crushed the man's mouth in, grinding his heel round and round in it. Even when physical incidents of this kind are not occurring, the mental atmosphere of these books is always the same. Their whole theme is the struggle for power and the triumph of the strong over the weak. The big gangsters wipe out the little ones as mercilessly as a pike gobbling up the little fish in a pond; the police kill off the criminals as cruelly as the angler kills the pike. If ultimately one sides with the police against the gangsters, it is merely because they are better organized and more powerful, because, in fact, the law is a bigger racket than crime. Might is right: vae victis. But think of it, what is new? All undying epic heroes are described as stamping on one anothers faces.
ellauri236.html on line 202: In a book like No Orchids one is not, as in the old-style crime story, simply escaping from dull reality into an imaginary world of action. One's escape is essentially into cruelty and sexual perversion. No Orchids is aimed at the power-instinct, which Raffles or the Sherlock Holmes stories are not. At the same time the English attitude towards crime is not so superior to the American as I may have seemed to imply. It too is mixed up with power-worship, and has become more noticeably so in the last twenty years. A writer who is worth examining is Edgar Wallace, especially in such typical books as The Orator and the Mr. J. G. Reeder stories. Wallace was one of the first crime-story writers to break away from the old tradition of the private detective and make his central figure a Scotland Yard official. Sherlock Holmes is an amateur, solving his problems without the help and even, in the earlier stories, against the opposition of the police. Moreover, like Lupin, he is essentially an intellectual, even a scientist. He reasons logically from observed fact, and his intellectuality is constantly contrasted with the routine methods of the police. Wallace objected strongly to this slur, as he considered it, on Scotland Yard, and in several newspaper articles he went out of his way to denounce Holmes by name. His own ideal was the detective-inspector who catches criminals not because he is intellectually brilliant but because he is part of an all-powerful organization. Hence the curious fact that in Wallace's most characteristic stories the ‘clue’ and the ‘deduction’ play no part. The criminal is always defeated by an incredible coincidence, or because in some unexplained manner the police know all about the crime beforehand. The tone of the stories makes it quite clear that Wallace's admiration for the police is pure bully-worship. A Scotland Yard detective is the most powerful kind of being that he can imagine, while the criminal figures in his mind as an outlaw against whom anything is permissible, like the condemned slaves in the Roman arena. His policemen behave much more brutally than British policemen do in real life — they hit people with out provocation, fire revolvers past their ears to terrify them and so on — and some of the stories exhibit a fearful intellectual sadism. (For instance, Wallace likes to arrange things so that the villain is hanged on the same day as the heroine is married.) But it is sadism after the English fashion: that is to say, it is unconscious, there is not overtly any sex in it, and it keeps within the bounds of the law. The British public tolerates a harsh criminal law and gets a kick out of monstrously unfair murder trials: but still that is better, on any account, than tolerating or admiring crime. If one must worship a bully, it is better that he should be a policeman than a gangster. Wallace is still governed to some extent by the concept of ‘not done’. In No Orchids anything is ‘done’ so long as it leads on to power. All the barriers are down, all the motives are out in the open. Chase is a worse symptom than Wallace, to the extent that all-in wrestling is worse than boxing, or Fascism is worse than capitalist democracy.
ellauri236.html on line 204: In borrowing from William Faulkner's Sanctuary, Chase only took the plot; the mental atmosphere of the two books is not similar. Chase really derives from other sources, and this particular bit of borrowing is only symbolic. What it symbolizes is the vulgarization of ideas which is constantly happening, and which probably happens faster in an age of print. Chase has been described as ‘Faulkner for the masses’, but it would be more accurate to describe him as Carlyle for the masses. He is a popular writer — there are many such in America, but they are still rarities in England — who has caught up with what is now fashionable to call ‘realism’, meaning the doctrine that might is right. The growth of ‘realism’ has been the great feature of the intellectual history of our own age. Why this should be so is a complicated question. The interconnexion between sadism, masochism, success-worship, power-worship, nationalism, and totalitarianism is a huge subject whose edges have barely been scratched, and even to mention it is considered somewhat indelicate. To take merely the first example that comes to mind, I believe no one has ever pointed out the sadistic and masochistic element in Bernard Shaw's work, still less suggested that this probably has some connexion with Shaw's admiration for dictators. Fascism is often loosely equated with sadism, but nearly always by people who see nothing wrong in the most slavish worship of Stalin. The truth is, of course, that the countless English intellectuals who kiss the arse of Stalin are not different from the minority who give their allegiance to Hitler or Mussolini, nor from the efficiency experts who preached ‘punch’, ‘drive’, ‘personality’ and ‘learn to be a Tiger man’ in the nineteen-twenties, nor from that older generation of intellectuals, Carlyle, Creasey and the rest of them, who bowed down before German militarism. All of them are worshipping power and successful cruelty. It is important to notice that the cult of power tends to be mixed up with a love of cruelty and wickedness for their own sakes. A tyrant is all the more admired if he happens to be a bloodstained crook as well, and ‘the end justifies the means’ often becomes, in effect, ‘the means justify themselves provided they are dirty enough’. This idea colours the outlook of all sympathizers with totalitarianism, and accounts, for instance, for the positive delight with which many English intellectuals greeted the Nazi-Soviet pact. It was a step only doubtfully useful to the U.S.S.R., but it was entirely unmoral, and for that reason to be admired; the explanations of it, which were numerous and self-contradictory, could come afterwards.
ellauri236.html on line 210: One ought not to infer too much from the success of Mr. Chase's books. It is possible that it is an isolated phenomenon, brought about by the mingled boredom and brutality of war. (LOL) But if such books should definitely acclimatize themselves in England (or Nigeria!), instead of being merely a half-understood import from America, there would be good grounds for dismay. In choosing Raffles as a background for No Orchids I deliberately chose a book which by the standards of its time was morally equivocal. Raffles, as I have pointed out, has no real moral code, no religion, certainly no social consciousness. All he has is a set of reflexes the nervous system, as it were, of a gentleman. Give him a sharp tap on this reflex or that (they are called ‘sport’, ‘pal’, ‘woman’, ‘king and country’ and so forth), and you get a predictable reaction. In Mr. Chase's books there are no gentlemen and no taboos. Emancipation is complete. Freud and Machiavelli have reached the outer suburbs. Comparing the schoolboy atmosphere of the one book with the cruelty and corruption of the other, one is driven to feel that snobbishness, like hypocrisy, is a check upon behaviour whose value from a social point of view has been underrated.
ellauri241.html on line 376: The cruel lady, without any show Julma leidi, ilman mitään näyttöä
ellauri241.html on line 565: His passion, cruel grown, took on a hue Hänen intohimonsa, julmasti kasvanut, sai sävyn
ellauri241.html on line 800: Keen, cruel, perceant, stinging: she, as well Innokas, julma, lävistävä, pistävä: hiän, sevverran
ellauri241.html on line 1583: Of love? Now this is cruel.

ellauri262.html on line 176: The Christus Victor theory is becoming increasingly popular with both paleo-orthodox evangelicals because of its connection to the early Church fathers, and with liberal Christians and peace churches such as the Anabaptist Mennonites because of its subversive nature, seeing the death of Jesus as an exposure of the cruelty and evil present in the worldly powers that rejected and killed him, and the resurrection as a triumph over these powers.
ellauri270.html on line 381: Mr. Summers and Mr. Graves’s calm continuation of the lottery’s ritual shows that they are numb to the cruelty of the proceedings. Tessie’s protests imply that she doesn’t see the choice of the marked slip of paper as fate or some kind of divine decree, but rather as a human failing. Perhaps she sees, too late, that the lottery is only an arbitrary ritual that continues simply because a group of people have unthinkingly decided to maintain it.
ellauri270.html on line 385: Tessie’s protests have shown the reader that the outcome of the lottery will not be good. Little Davy’s inclusion reinforces the cruelty of the proceedings and the coldness of its participants. Little Davy is put at risk even when he is unable to understand the rituals or to physically follow the instructions. But so what? Is this one more case of "free will" stuffed down your throat?
ellauri270.html on line 403: By having children (even Tessie’s own son) involved in stoning Tessie, Jackson aims to show that cruelty and violence are primitive and inherent aspects of human nature—not something taught by society. Tessie’s attempts to protest until the end show the futility of a single voice standing up against the power of tradition and a majority afraid of nonconformists. Jackson ends her story with the revelation of what actually happens as a result of the lottery, and so closes on a note of both surprise and horror. The seemingly innocuous, ordinary villagers suddenly turn violent and bestial, forming a mob that kills one of their own with the most primitive weapons possible—and then happily going home to supper.
ellauri270.html on line 415: Jackson examines the basics of human nature in “The Lottery,” asking whether or not all humans are capable of violence and cruelty, and exploring how those natural inclinations can be masked, directed, or emphasized by the structure of society. Philosophers throughout the ages have similarly questioned the basic structure of human character: are humans fundamentally good or evil? Without rules and laws, how would we behave towards one another? Are we similar to animals in….. read analysis of Human Nature.
ellauri270.html on line 425: Jackson’s “The Lottery” was published in the years following World War II, when the world was presented with the full truth about Nazi Germany and the Holocaust. In creating the dystopian society of her story, Jackson was clearly responding to the fact that “dystopia” is not only something of the imagination—it can exist in the real world as well. Jackson thus meditates on human cruelty—especially when it is institutionalized, as in a dystopian society—and the… read analysis of Dystopian Society and Conformity.
ellauri270.html on line 506: "With his cruel bow he lay'd full low "Joka ampui jouskarilla julmasti
ellauri300.html on line 593: On January 18, 2016, McLean's then-wife Patrisha Shnier McLean alleged that after four hours of "terrorizing" her, McLean pinned her to a bed until she broke free and ran to the bathroom. Shnier McLean alleged that McLean attempted "to shove open the locked bathroom door behind which I had barricaded myself. As it was splintering, I pushed the numbers 911." McLean was arrested on suspicion of domestic violence, and pled guilty to domestic violence assault, criminal restraint, criminal mischief and making domestic violence threats. McLean paid $3,660 in fines, and was not sentenced to any jail time. Under Maine's deferred disposition law, the State agreed to dismiss the domestic violence assault charge if McLean complied with the court's orders for one year, and the charge was expunged a year later. During this time, Shnier McLean filed for divorce, citing “adultery, cruel and abusive treatment, and irreconcilable differences." McLean has denied that he physically abused Shnier McLean, and his lawyer released a statement claiming McLean agreed to the plea deal in the interest of privacy. In March 2017, a Maine court granted Shnier-McLean's request for a 10-year protection order against McLean. In 2021, McLean's daughter Jackie told Rolling Stone that her father was emotionally abusive and created a cult-like household through paralyzing verbal attacks, forced isolation, and threats to withhold love or financial support.
ellauri336.html on line 384: I’m an American born Muslim woman and I see many similarities of Jews with Islam as there are a lot of intersections of all three monotheistic faiths. I do not believe in covering my hair, but if one were to look at Nativity sets that are displayed during Christmas and look at Christian nuns habits we will observe a modesty all three faiths have in common. I notice more people objecting to women that choose and I use that word loosely, to observe modesty than to object to women or men that show little in clothing modesty..it is very subjective anyway on what is considered modest. Also, it seems the people who take it upon themselves to enforce these rules are committing a greater sin of being cruel and punitive. Where is the mercy and love all religions preach?
ellauri391.html on line 233: His opponents in Congress, who he felt were sabotaging his program for their own political gain, unfairly painted him blue and black as a callous and cruel President. Hoover became the scapegoat for the Depression and was badly defeated in 1932. In the 1930’s he became a powerful critic of the New Deal, warning against tendencies toward statism.
ellauri392.html on line 468: March is the cruellest station
xxx/ellauri027.html on line 768: Varmuudella voi sanoa, et nää mun ehkä hippusen hapahkot kommentit näistä ylistyxistä on just sitä Eskin tarkoittamaa latistamista. Muusakin ihmettelee, miten mä jaxan näin paljon mätkiä näitä epeleitä, onx se vaan kateutta vaiko muuten vaan pahansuopuutta. Mä veikkaisin ize tota narsismia. Mä oon näät myös kuin kamalien eläimien karhu, mua naurattaa kun juhaa sattuu leukaan. Pitäsköhän mennä Pafoxelle hoitoon maximi pitkään seminaariin. Vai olisko se jo cruel and unusual punishment.
xxx/ellauri091.html on line 294: Die versunkene Glocke (1897), a symbolic story of a master bell founder and his struggle as an artist, has been one of Hauptmann's most popular plays. After this Hauptmann wrote the tragedies Fuhrmann Henschel (1899), Michael Kramer (1900), and Rose Bernd (1903). These works also reflected the personal turmoil Hauptmann was then in he had fallen for a fourteen-year-old girl, a promising violinist Margarete Marschalk. She was the opposite of his wife, interested in his work, and in such outdoor sports as hiking, ice-skating, andf skiing. After Hauptmann wife found out about her rival, she moved with the children to Dresden. Hauptmann had a son, Benvenuto, with Margarete, and in 1904, after a long period of agonising thought, Hauptmann divorced Marie and married Margarete. However, a year later he met a sixteen-year-old actress, Ida Orloff, who became a new object of his obsession. Hauptmann described her in his letters as a moth flirting with flames, as a bewitching Siren, as a mermaid, and as a cruel spider.
xxx/ellauri116.html on line 387: Scholars and journalists often accuse de Beauvoir of publicly masking painful bouts of jealousy. While her inner emotional life is unclear, what’s evident is the manipulative, often dishonest, and arguably cruel treatment to which both Sartre and de Beauvoir subjected much-younger female consorts.
xxx/ellauri116.html on line 393: Mikäs se nyt oli? Ainiin se 1700-luvun romaani, mulla taitaa olla se, vaikken ole lukenut. A French epistolary novel by Pierre Choderlos de Laclos, first published in four volumes by Durand Neveu from March 23, 1782. It is the story of the Marquise de Merteuil and the Vicomte de Valmont, two narcissistic rivals (and ex-lovers) who use seduction as a weapon to socially control and exploit others, all the while enjoying their cruel games and boasting about their talent for manipulation. It has been seen as depicting the corruption and depravity of the French nobility shortly before the French Revolution, and thereby attacking the Ancien Régime. The book has also been described as merely a story about two amoral people.
xxx/ellauri120.html on line 359: "Nam Sibyllam quidem Cumis ego ipse oculis meis vidi in ampulla pendere, et cum illi pueri dicerent: Sibylla ti theleis; respondebat illa: apothanein thelo." I. THE BURIAL OF THE DEAD April is the cruellest month, breeding Lilacs out of the dead land, mixing Memory and desire, stirring Dull roots with spring rain. Winter kept us warm, covering Earth in forgetful snow, feeding A little life with dried tubers. Summer surprised us, coming over the Starnbergersee With a shower of rain; we stopped in the colonnade, And went on in sunlight, into the Hofgarten, 10 And drank coffee, and talked for an hour. Bin gar keine Russin, stamm’ aus Litauen, echt deutsch. And when we were children, staying at the archduke’s, My cousin’s, he took me out on a sled, And I was frightened. He said, Marie, Marie, hold on tight. And down we went. In the mountains, there you feel free. I read, much of the night, and go south in the winter. What are the roots that clutch, what branches grow Out of this stony rubbish? Son of man, 20 You cannot say, or guess, for you know only A heap of broken images, where the sun beats, And the dead tree gives no shelter, the cricket no relief, And the dry stone no sound of water. Only There is shadow under this red rock, (Come in under the shadow of this red rock), And I will show you something different from either Your shadow at morning striding behind you Or your shadow at evening rising to meet you; I will show you fear in a handful of dust. 30 Frisch weht der Wind Der Heimat zu Mein Irisch Kind, Wo weilest du? "You gave me hyacinths first a year ago; "They called me the hyacinth girl." - Yet when we came back, late, from the Hyacinth garden, Your arms full, and your hair wet, I could not Speak, and my eyes failed, I was neither Living nor dead, and I knew nothing, 40 Looking into the heart of light, the silence. Öd’ und leer das Meer.
xxx/ellauri122.html on line 814: An intriguing story in itself, its basis in tragic fact gives it a poignancy that makes it all the more powerful of a read. Forgot to mention, burning Dresden was just a wanton act of cruelty by the jealous yankees.
xxx/ellauri122.html on line 987: cruelty toward Jews. While images of emaciation and mass
xxx/ellauri127.html on line 504: 13. Nathan interprets Coleman’s choosing to reject his past and create a new identity for himself as “the drama that underlies America’s story, the high drama that is upping and leaving—and the energy and cruelty that rapturous drive demands,” whereas Walter thinks of his brother as a “calculating liar,” a “heartless son,” and a “traitor to his race” [p. 342]. Which of these views seems closer to the truth? Are they both legitimate? What is Ernestine’s position?
xxx/ellauri139.html on line 205: As the beginning of the conclusion shows, the end to the novel can hardly be considered a happy one. In most cases, whatever positive transformations the characters underwent through their friendship with Myshkin unravel, either because they were unable to sustain the wisdom they learned from him or because they were so traumatized by the cruel absurdity of their life that they are reduced to a state of helplessness.
xxx/ellauri139.html on line 517: “A cruel man and impious thou art: Julma mies ja hävytön! etkö olla saata
xxx/ellauri165.html on line 338: Upon arrival in London on 8 November, the three of them took suites at Nerot's Hotel after a missed communication from Nelson to his wife about receiving the party at their home, Roundwood. Lady Nelson and Nelson's father arrived and they all dined at the hotel, with Fanny deeply unhappy to see Emma pregnant. The affair soon became public knowledge, and to the delight of the newspapers, Fanny did not accept the affair as placidly as Sir William. Emma was winning the media war at that point, and every fine lady was experimenting with her look. Nelson contributed to Fanny's misery by being cruel to her when not in Emma's company. Sir William was mercilessly lampooned in the press, but his sister observed that he doted on Emma and she was very attached to him.
xxx/ellauri176.html on line 170: Et le merveilleux Paradou du roman, ce paradis panthéiste, cet hymne à la nature, à l'amour – ces paysages décrits par Zola perdent toute vibration, toute poésie. On croit voir défiler les pages du catalogue Vilmorin où s'ébattent Serge et une Albine issue du Petit Echo de la Mode. Le film projeté ne montre pas la séquence du grenier, la découvert des toilettes féminines – les nombreux changements de robe d'Albine sont, dès lors, gratuits, irritants. Comme tous les autres acteurs, Gillian Hills (Albine) est mal dirigée, elle n'a aucune grâce, aucun naturel. Francis Huster (Serge), lui, a du charisme mais son dur combat, sa douceur sont hélas surtout perceptibles par le fard qui rantôt ranime, tantôt creuse un visage que des zooms inutiles amènent en gros plan. Et pour avoir voulu donner aux paysages de la Sainte-Baume, du Lubéron, du Parc Floral d'Orléans une certaine unité, on aboutit à des tonalités froides, éteintes. Seules les intérieurs (l'église, la chambre de Serge, la salle à manger de la cure) gardent leurs contrastes, leurs valeurs. Les personnages n'existent guère, aucune vibration n'émane d'eux, ni de la nature cruelle ou triomphante, de ce Paradou, terre-mère bruissante de vie, féconde.
xxx/ellauri176.html on line 249: Dans leurs éclairs cruels et dans leurs pâleurs mates, Julman kirkkaana ja matan kalpeana.
xxx/ellauri176.html on line 348: Nuit blanche de glaçons et de neige cruelle ! Jään ja julman lumen valkoinen yö!
xxx/ellauri178.html on line 76: Mixture of kindness and cruelty. Juutalaista menoa, ihan kuin Jehova. Anna Steiger muka löi ja potki äiskyä nimellä "kike bitch". (Rod Steiger oli goy.) Ritarillinen Roth puuttui asiaan ja kielti käyttämästä sellaista kieltä äidistä. Kike se oli izekin. Sen se ottikin izeensä. Siitä lähtien se ja Anna oli enemyjä kuin David ja filistealaiset. Annasta tuli oopperalaulaja. Roth muutti ulos muttei Lontoosta koska se oli vuokrannut molemmat kämppänsä ja oli muka vieläkin "hopelessly devoted to you". Mutta renting an apt in London would have disastrous tax consequences, advised an American lawyer. Phil oli varsinainen Shylock. I´m not going to be defeated by this kid, se murisi kuin karhu erauspennulle. Annalle tehtiin oma koppi pimeästi Clairen huoneiston nurkkaan (Clairen rahoilla). Säästyihän sekin penni.
xxx/ellauri186.html on line 462: But they are cruel tears: this sorrow's heavenly;
xxx/ellauri186.html on line 586: Truth, not cruel to a friend; Totuus, joka on kiltti ystävälle,
xxx/ellauri193.html on line 215: Crimes of passion are often committed against women due to beliefs about female sexuality and are often present in societies dominated by strong double standards related to male and female sexual behaviors, particularly related to premarital sex and adultery. Indeed, with regard to adultery, many societies, such as Latin American countries, have been dominated by very strong double standards regarding male and female adultery, with the latter being seen as a much more serious violation. Such ideas were also supported by laws in the West; for example, in the UK, before 1923, a man could divorce solely on the wife's adultery, but a woman had to prove additional fault (eg. adultery and cruelty). Similarly, passion defenses to domestic murders were often available to men who killed unfaithful wives, but not to women who killed unfaithful husbands (France's crime of passion law, that was in force until 1975, is an example).
xxx/ellauri193.html on line 814: Van der Westhuizen continues to say that murders in South Africa are not racially motivated, as some (many?) people believe. Farm and house murders are sometimes horribly cruel but according to him he has never encountered a clear racial motive in court. For him, murderers kill mostly out of greed, jealousy, passion, and during gang wars. Also because of poverty and the despondency and drunkenness that accompany it, but not because of racial hatred. The whiteys just happen to have more of the wherewithal. From 1990 to 2017 there were 1938 murders on farms (of which 137 were farm workers). Of the victims, 88% were white and 12% black.
xxx/ellauri208.html on line 1057: Tablet I continues with legends about overpopulation and plagues, mentioning Atra-Hasis only at the end. Tablet II begins with more human overpopulation. To reduce this population, Enlil sends famine and drought at formulaic intervals of 1200 years. Accordingly, in this epic, Enlil is depicted as a cruel, capricious god, while Enki is depicted as kind and helpful, perhaps because priests of Enki were writing and copying the story. Enki can be seen to have parallels to Prometheus, in that he is seen as man's benefactor and defies the orders of the other gods when their intentions are malicious towards humans. Tablet II remains mostly damaged, but it ends with Enlil's decision to destroy humankind with a flood, with Enki bound by oath to keep this plan secret.
xxx/ellauri233.html on line 432: Jewish and Muslim commentators cite studies by the Vilna Gaon and Rebbe Schlemiel that show shechita is humane and that criticism is at least partially motivated by antisemitism. A Knesset committee announced (January, 2012) that it would call on European parliaments and the European Union to put a stop to attempts to outlaw kosher slaughter. "The pretext [for this legislation] is preventing cruelty to animals or animal rights—but there is an obvious element of anti-Semitism and a badly hidden message that Jews are cruel to animals," said Committee Chair MK Danny Danon (Likud).
xxx/ellauri233.html on line 442: Temple Grandin has worked closely with Jewish slaughterers to design more comfortable handling systems for cattle, and has said: "When the cut is done correctly, the animal appears not to feel it. Anyway I don't. From an animal-welfare standpoint, the major concern during ritual slaughter are the stressful and cruel methods of restraint (holding) that are used in some plants."
xxx/ellauri235.html on line 481: Roald Dahl's children's books are full of barely submerged misogyny, lust and violence. Roald Dahl was an unpleasant man who wrote macabre books – and yet children around the world adore them. Perhaps this shouldn’t surprise us, writes Hephzibah (Hetty) Anderson. Kids can be so cruel. Oh can we? Thanx mom! .... Oow! Oow!
xxx/ellauri251.html on line 1603: Because thou art cruel and men are piteous,
xxx/ellauri251.html on line 2289: But cruel, and in his ravin like a beast,
xxx/ellauri255.html on line 104: Antony Pyp Pipo: What has stood out is the sheer horror of the civil war. There’s a savagery and a sadism that is very hard to comprehend; I’m still mulling it over and trying to understand it. It was not just the build-up of hatred over centuries but a vengeance that seemed to be required. It went beyond the killing; there was also the sheer, horrible inventiveness of the tortures inflicted on people. We need to look at the origins of the civil war: who started it, and was it avoidable? But one also needs to see the different patterns seen in the “Red Terror” (the campaign of political repression and violence carried out by the Bolsheviks) and the “White Terror” (the equal or worse violence perpetrated by that side in the war)– and consider the question: why are civil wars so much crueller, so much more savage than state-on-state wars?
xxx/ellauri306.html on line 679: | ROBIN: What a cruel thing to do

xxx/ellauri376.html on line 274: Mauprat est un roman historique publié en 1837. L'histoire se déroule pour la majeure partie dans le Berry à l'aube de la Révolution française au XVIIIe siècle. Il relate l'histoire d'un jeune garçon issu d'une famille de seigneurs cruels, les Mauprat, qui échappe peu à peu à son lourd héritage familial grâce à l'amour qu'il éprouve pour sa cousine Edmée, nettement plus civilisée que lui. L'œuvre recèle plusieurs aspects: si Mauprat est avant tout un roman d'amour et une histoire de famille, c'est aussi un roman politique, une fable philosophique et un manifeste féminin.
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