ellauri156.html on line 162: His rival, it seems, had broken his dreams
ellauri156.html on line 241: I was in my bed a-sleepin', oh-boy, what a dream
ellauri156.html on line 242: I was in my bed sleepin', oh-boy, what a dream
ellauri156.html on line 243: I was dreamin' 'bout my TV Mama, the one with the big, wide screen
ellauri158.html on line 692: All men are born ignorant of the causes of things, that all have the desire to seek for what is useful to them, and that they are conscious of such desire. Herefrom it follows, first, that men think themselves free inasmuch as they are conscious of their volitions and desires, and never even dream, in their ignorance, of the causes which have disposed them so to wish and desire. Secondly, that men do all things for an end, namely, for that which is useful to them, and which they seek. Thus it comes to pass that they only look for a knowledge of the final causes of events, and when these are learned, they are content, as having no cause for further doubt. If they cannot learn such causes from external sources, they are compelled to turn to considering themselves, and reflecting what end would have induced them personally to bring about the given event, and thus they necessarily judge other natures by their own. Further, as they find in themselves and outside themselves many means which assist them not a little in the search for what is useful, for instance, eyes for seeing, teeth for chewing, herbs and animals for yielding food, the sun for giving light, the sea for breeding fish, &c., they come to look on the whole of nature as a means for obtaining such conveniences. Now as they are aware, that they found these conveniences and did not make them, they think they have cause for believing, that some other being has made them for their use. As they look upon things as means, they cannot believe them to be self—created; but, judging from the means which they are accustomed to prepare for themselves, they are bound to believe in some ruler or rulers of the universe endowed with human freedom, who have arranged and adapted everything for human use. They are bound to estimate the nature of such rulers (having no information on the subject) in accordance with their own nature, and therefore they assert that the gods ordained everything for the use of man, in order to bind man to themselves and obtain from him the highest honor.
ellauri159.html on line 961: INFPs are the dreamers of the world. They are deeply idealistic and passionate about their beliefs, ideas, and relationships. INFP writers include Jean-Jacques Rousseau, Albert Camus, George Orwell, J.R.R. Tolkien, Virginia Woolf, Antoine de Saint-Exupery, A.A. Milne, Franz Kafka, Edgar Allan Poe, John Milton, William Blake, Hans Christian Anderson, William Shakespeare, Homer, and George R.R. Martin. Learn more about how INFPs write here.
ellauri160.html on line 641: She makes bed sport with the sons of man, and conceives from them through their dreams, from the male desire, and she attaches herself to them. She takes the desire, and nothing more, and from that desire she conceives and brings forth all kinds of demons into the world. And those sons she bears from men visit the women of humankind, who then conceive from them and give birth to spirits. And all of them go to the first Lilith and she brings them up.
ellauri161.html on line 1000: “Bourgeois are by nature people who hate and destroy heavens. When they see a beautiful site, they have no more pressing dream than to cut the trees, dry up the springs, build streets, shops and urinals. They call this seizing a business opportunity.”
ellauri161.html on line 1085: Ruysbroeck (Or Rusbroek), Jean De, the most noted of mystics in the Netherlands, was born in A.D. 1293 at Ruysbroeck no less, near Brussels, and was educated in the latter city under the direction of an Augustinian prebendary who was his relative. His fondness for solitude and day dreams prevented him from making solid progress, however. His Latin was imperfect, though it is clear that he became acquainted with the earlier mystical writings. He probably did not read the writings of Neo-Platonists, but was certainly not unacquainted with those of the Areopagite.
ellauri171.html on line 996: In Christian lore, Jezebel’s prominent association is that of a sexual essence. Authoritative sources such Thesaurus and Urban Dictionary return results like “whore,” “harlot,” “slut.” John in his drug dream seems to associate the Biblical queen with the “mother of whores and of abominations” who “rules over the kings of the earth” and who has committed fornication with them (Revelation 17:2, 5, 18).
ellauri180.html on line 123: This journal will help you envision your ideal life and then identify the unconscious attachments that are preventing you from living it. Through a series of writing prompts and exercises as well as some of Brianna’s favorite quotes, most popular articles, and new passages, it will help you sort through the conflicting thoughts, feelings, and fears that are preventing you from becoming the person you want and need to be. You do not need more motivation or drive to start building the life of your dreams. You need to better understand who you are, why you keep re-creating comfortable pain patterns, and why you may not really want what is it you think you do.
ellauri180.html on line 373: These worlds inspire us with new sensations and experiences, with quoting C.S. Lewis 'such beauty, awe, or terror as the actual world does not supply', with the stuff of desires, dreams, and dread.
ellauri180.html on line 469: Kehittyneen barditeollisuuden avulla Jenkkilä on yhdistänyt nämä 2 mallia, niin että havenotit on saatu samaan aikaan sekä pitämään kiinni kerrostuneen termiittipesän vanhoista meemeistä että uskomaan American dreamiin päästä ize penthousekerroxiin herrahississä kun nalli napsahtaa ja onni sattuu potkaisemaan 2-3 paskaduunissa seppoilevaa izeyrittäjää. Kiitos bardit! Ilman teitä tää ei olis syntynyt, ja ilman räjähdysmäistä kasvua se ei pysyis pystyssä. Nyt on punakone alkanut jo yskähdellä. Kohta koittaa bardi Byronin ennustama pimeys.
ellauri180.html on line 477: I had a dream, which was not all a dream. Mä näin unta joka ei ollut pelkkä uni.
ellauri180.html on line 568: This dream can either be brushed off as only that, or considered as a premonition due to the fact that it has a poignant message to share about the state of the human race.
ellauri180.html on line 571: The dream of the speaker revolves around one main concept, “darkness.” Byron’s ‘Darkness’ is considered one of the best poems ever on the theme of darkness.
ellauri181.html on line 382: Additionally, ipsative measures may be useful in identifying faking. However, ipsative measures may, especially among testing-naïve individuals exhibiting high levels of conscientiousness and/or neuroticism, decrease test validity by discouraging response and/or encouraging non-response. For example, a test's authors may force respondents to choose between "a) Animals chase me in my dreams" and "b) My dreams are nice" in an effort to see whether a given respondent is more inclined toward "faking bad" or toward "faking good." When faced with such a question, a child frequently terrified by nightmares that rarely if ever involve animals, and especially one whose parents have foolishly taught him/her/it strict rules against lying, may simply refuse to answer the question given that for that respondent nearly all of the time both descriptions are inaccurate. Even a previously presented guideline "Choose the answer that [best/better] describes you" may be unhelpful in such a situation to responders who worry that endorsing one item or the other will still involve stating it to be accurate or "well"-descriptive to some positive degree. Only if the guideline is presented as "Choose the answer that more accurately or less inaccurately describes you" and the above-described responder is sophisticated enough to reason out his/her response in terms of "Despite the infrequency with which I have nice dreams, I have them [more frequently / less infrequently] than dreams in which animals chase me" (or, in theory, vice versa) will such a responder be willing to answer the question—and phrasing the guideline in this way bears its own cost of making the question reveal less about the respondent's propensities because the respondent is no longer forced to "fake" one way or another.[citation needed].
ellauri182.html on line 82: Mikage is not religious, but believes in elements of the mystical and superstitious. She “can’t believe in the gods,” but for a warm bed, she “thanked the gods—whether they existed or not.” In despair, she “implored the gods: Please, let me live.” She also has a dream that comes partially true. Ergo Mikage relates to American culture. She looks up to Eriko as an ideal of feminine beauty, charm, and strength, although Eriko was once, or still is, a man - or is s/he?
ellauri182.html on line 104: Symbolism appears throughout Yoshimoto’s story. For the protagonist, kitchens symbolize places of contentment, safety, and healing. Mikage claims, “to me a kitchen represents some distant longing engraved on my soul.” When she is despondent, her dreams of kitchens keep her going. She takes to the kitchen and learns cooking as a way of overcoming feelings of meaninglessness and despair; cooking represents her new attitude toward life. Like kitchens and cooking, food also plays a symbolic role in the story. Mikage is constantly presenting her friends with food; her life changes when she takes a job at a cooking school; and the climax of the story occurs when Mikage brings a dish of special food to Yuichi in his secluded hotel room. Eat my shorz.
ellauri182.html on line 117: As Mikage and Yuichi’s relationship develops, one of the first signs that they are drawing closer is a shared dream that they experience. In the dream, Yuichi tells Mikage that he has a desire to eat ramen, a noodle soup. Shortly after awakening from the dream, Yuichi, in real life, acknowledges his hunger. “I just woke up and I’m starving. I was thinking, hmm, maybe I’ll make some instant ramen noodles.” Instead of love, she thinks of food. It is through food, as is shown in this scene and many scenes to follow, that Mikage finds her mouth. Climbing to the balcony with her body mass was an existential feat.
ellauri182.html on line 139: The alternative is of course the sexless intimacy of the fag hag and her chosen friends. The heroines of Yoshimoto’s fiction are not exactly fag hags, nor are they innocent. Mikage and Satsuki are young women. But grown-up sexual relationships are still beyond their grasp. Instead, in the security of their private kitchens, they dream nostalgic dreams, and shed melancholy tears about the passing of time. This is the stuff of great Japanese poetry, and absolute kitsch. Yoshimoto Banana is not yet a mistress of poetry, but she is a past master of kitsch.
ellauri183.html on line 101: The apocalyptic gloom of his subject seems hopelessly out of place in this cheery, sun-washed house, a rambling white-frame idyll near Bennington College, where Malamud has taught for 20 years. A comforting percussion of cooking sounds comes from the big kitchen where his wife Ann, a chipper dynamo of a woman, is devising lunch; on the porch an old tiger tomcat lolls ingratiatingly; and in the distance the cloud-dappled foothills of the Green Mountains hover like a Yankee daydream.
ellauri188.html on line 413: Josh skipped college to start acting at 19. He dared to dream and got a job as DIY professor at Vanderbilt. Tennessee on Louisianasta luoteeseen. Mekin ajettiin tota hirmu pitkää Baton Rougen bridgeä Nikun isän autossa. Ei sentään tullut myrskyä.
ellauri189.html on line 813: Well, as a Jew who prayed for and dreamt of meeting the other (non Jews) Bene Israel, I am extremely excited. If you are a Pashtun and you don’t want to admit being an Israeli, I think you are not being rational.
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ellauri192.html on line 35:
ellauri192.html on line 555: she dreamed of Paradise Se näki unta paratiisista
ellauri192.html on line 627: While the church prayed, God answered. He miraculously delivered Peter from prison: an angel led him out of his cell and through the prison gate, which opened for them to pass (Acts 12:6–10). Upon realizing that he was not dreaming, Peter made his way to a place he knew was safe, Mary’s house (Acts 12:11–12).
ellauri192.html on line 814: "This song is not about money at all, said the leader. "It is the cult of accumulation and consumption, which is rampant in today's society. My dream is to reach the point at which a phone with diamonds or go to superdorogoy car will be a great shame."
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ellauri197.html on line 255: Certain, and they never dream Eikä ne muuta kuvittele kuin eze haihtuu
ellauri197.html on line 258: But a brief, dreamy, kind delight. Vaan tollanen tuulihattu tahi hattara,
ellauri198.html on line 49: Whenever you dream, dream with your Ass.
ellauri198.html on line 146: Part of the problem seems to be an inordinate ambition for grandeur; part is what feels to me like haste. If Warren were in less of a hurry to chronicle each dawn dream, birdsong, and memory as it occurred, a process of distillation just might be allowed to take place. He is not an original thinker or a visionary poet. His is
ellauri198.html on line 342: Browning claimed that the poem came to him in a dream, saying "I was conscious of no allegorical intention of writing it ... I do not know what I meant beyond that, and I do not know now. But I am very fond of it."
ellauri198.html on line 344: A footnote in the Penguin Classics edition (Robert Browning Selected Poems) advises against allegorical interpretation, saying “readers who wish to try their hand should be warned that the enterprise strongly resembles carving a statue out of fog." This sentiment is echoed by many critics, who believe any quest for interpretation will ultimately fail, due to the dreamlike, illusionary nature of the poem.
ellauri198.html on line 586: In a bad dream perhaps. Here ended, then, Tai paha uni, succubus, jälleen kerran,
ellauri198.html on line 728: Along the way they find Patrick Danville, a young man imprisoned by someone who calls himself Joe Collins but is really a psychic vampire named Dandelo. Dandelo feeds off the emotions of his victims, and starts to feed off of Roland and Susannah by telling them jokes. Roland and Susannah are alerted to the danger by Stephen King, who drops clues directly into the book, enabling them to defeat the vampire. They discover Patrick in the basement, and find that Dandelo had removed his tongue. Patrick is freed and soon his special talent becomes evident: his drawings and paintings become reality. As their travels bring them nearer to the Dark Tower, Susannah comes to the conclusion that Roland needs to complete his journey without her. Susannah asks Patrick to draw a door she has seen in her dreams to lead her out of this world. He does so and once it appears, Susannah says goodbye to Roland and crosses over to another world.
ellauri198.html on line 856: Poetic ingredients of the sort Yeats described in “The Dark Tower”: “Poet’s imaginings / And memories of love, / Memories of young men and women, / All those things whereof / Man makes a superhuman / Mirror-resembling dream.”
ellauri203.html on line 475: From an 1849 letter to Pauline Viardot we know that the inspiration came from a dream that Turgenev had had. In this dream there was a whitish creature claiming to be his brother Anatoli (Turgenev had two brothers: Nikholai and Sergei). They both turned into birds and flew over the ocean. In another letter Turgenev writes that he was looking for a way to connect several landscape sketches that he had written. He combined the flying with the landscapes and came up with a vampire woman to explain the flying.
ellauri203.html on line 677: Phineas falls in love with the girl of his dreams, only to learn she is a robot sex doll.
ellauri206.html on line 308: J’ai rêvé dans la Grotte où nage la sirène… I dreamt of the Cave where the mermaid swims…
ellauri210.html on line 1115: Between 1937–1938 Carrington painted a Self-Portrait, where she is perched on the edge of a chair in this curious, dreamlike scene, her hand outstretched toward a prancing hyena and her back to a tailless rocking horse flying behind her. The hyena depicted in Self-Portrait (1937–38) joins both male and female into a whole, metaphoric of the worlds of the night and the dream. The symbol of the hyena is present in many of Carrington's later works, including "La Debutante" in her book of short stories The Oval Lady.
ellauri210.html on line 1318: In the remaining quarter of the text, André distances himself from her corporeal form and descends into a meandering rumination on her absence, so much so that one wonders if her absence offers him greater inspiration than does her presence. It is, after all, the reification and materialization of Nadja as an ordinary person that André ultimately despises and cannot tolerate to the point of inducing tears. There is something about the closeness once felt between the narrator and Nadja that indicated a depth beyond the limits of conscious rationality, waking logic, and sane operations of the everyday. There is something essentially “mysterious, improbable, unique, bewildering” about her; this reinforces the notion that their propinquity serves only to remind André of Nadja's impenetrability. Her eventual recession into absence is the fundamental concern of this text, an absence that permits Nadja to live freely in André's conscious and unconscious, seemingly unbridled, maintaining her paradoxical role as both present and absent. With Nadja's past fixed within his own memory and consciousness, the narrator is awakened to the impenetrability of reality and perceives a particularly ghostly residue peeking from under its thin veil. Thus, he might better put into practice his theory of Surrealism, predicated on the dreaminess of the experience of reality within reality itself. Nadja Nadja soromnoo.
ellauri214.html on line 193: I might talk about what I want to do, I might have one talent (usually drawing), but I was never shown to actively working towards my dream.
ellauri219.html on line 635: Fassbinder continues to have group sex with his neurotics and obsessives and cannot understand why everyone falls for Michael. The group sessions get stranger—including an indoor cricket match. Michael dreams that all his sexual conquests simultaneously bombard him for attention, listing where they made love.
ellauri222.html on line 453: Jacqueline is the ugly but proud housemaid who works for Stella and Augie in Paris. When she declares to him that it is her dream to go to Mexico, Augie breaks out laughing. He finds it both ridiculous and wonderful that such a used-up, ugly-looking girl has such an indomitable spirit.
ellauri222.html on line 803: British critics tend to regard the American predilection for Big Novels as a vulgar neurosis — like the American predilection for big cars or big hamburgers. Oh God, we think: here comes another sweating, free-dreaming maniac with another thousand-pager; here comes another Big Mac. First, Dos Passos produced the Great American Novel; now they all want one. Yet in a sense every ambitious American novelist is genuinely trying to write a novel called USA. Perhaps this isn’t just a foible; perhaps it is an inescapable response to America – twentieth-century America, racially mixed and mobile, twenty-four hour, endless, extreme, superabundantly various. American novels are big all right, but partly because America is big too. You need plenty of nerve, ink and energy to do justice to the place, and no one has made greater efforts than Saul Bellow. In 1976 Bellow was awarded the Nobel Prize for Literature, praised by the Swedes ‘for human understanding and subtle analysis of contemporary culture’. Many times in Bellow’s novels we are reminded that ‘being human’ isn’t the automatic condition of every human being. Like freedom or sanity, it is not a given but a gift, a talent, an accomplishment, an objective. The busiest sections of the Chicago bookstores, I noticed, were those marked ‘Personal Growth’.
ellauri226.html on line 491: dream: a private single-family home. The opportunity to own a private
ellauri236.html on line 208: Several people, after reading No Orchids, have remarked to me, ‘It's pure Fascism’. This is a correct description, although the book has not the smallest connexion with politics and very little with social or economic problems. It has merely the same relation to Fascism as, say Trollope's novels have to nineteenth-century capitalism. It is a daydream appropriate to a totalitarian age. In his imagined world of gangsters Chase is presenting, as it were, a distilled version of the modern political scene, in which such things as mass bombing of civilians, the use of hostages, torture to obtain confessions, secret prisons, execution without trial, floggings with rubber truncheons, drownings in cesspools, systematic falsification of records and statistics, treachery, bribery, and quislingism are normal and morally neutral, even admirable when they are done in a large and bold way. The average man is not directly interested in politics, and when he reads, he wants the current struggles of the world to be translated into a simple story about individuals. He can take an interest in Slim and Fenner as he could not in the G.P.U. and the Gestapo. People worship power in the form in which they are able to understand it. A twelve-year-old boy worships Jack Dempsey. An adolescent in a Glasgow slum worships Al Capone. An aspiring pupil at a business college worships Lord Nuffield. A New Statesman reader worships Stalin. There is a difference in intellectual maturity, but none in moral outlook. Thirty years ago the heroes of popular fiction had nothing in common with Mr. Chase's gangsters and detectives, and the idols of the English liberal intelligentsia were also comparatively sympathetic figures. Between Holmes and Fenner on the one hand, and between Abraham Lincoln and Stalin on the other, there is a similar gulf.
ellauri238.html on line 44: It was brillig, and sleep, gently flowing, Was trickling through my dreaming soul, When the vague form of a vibrant ghost. Arrived to disturb my dreaming, softly. Leaning down to me, pure ivory teeth, And offering me her flickering tongue, Her lips were kissing me, sweet and long, Mouth on mouth, thigh on thigh beneath...
ellauri240.html on line 84: A truly astonishing and original work of fiction indeed. It is a story of one man, a writer, who is born, who grows, who loves, who stops loving; who eats, sleeps, smokes, lies, boozes, cheats, regrets, has sex, has dreams, and lives. In short yet intimately detailed chapters, each covering a single aspect of his life from youth through old age, we get to know this person fully through the small yet telling incidents that make him who he is. He remembers the butt of a cigarette, the feel of his army uniform, the taste of a lover, the strange and unexpected touch of a college professor’s hand, and so many more small experiences that can never be shaken off more than a recalcitrant band-aid.
ellauri240.html on line 121: Reality soon dispersed that dreamworld. Vang Pao later admitted that his Hmong soldiers suffered appalling losses fighting around the Plain of Jars, in Xieng Khouang province. He put the figure at 17,000 dead by 1968. But his CIA controllers urged him to keep on fighting. US sources, including the historian Alfred McCoy, have noted that younger and younger fighters were forcibly enrolled. By 1968, 30% of the new recruits were only 14 years old.
ellauri241.html on line 149: I had a splendid dream of thee last night: näin upeaa unta sinusta viime yönä:
ellauri241.html on line 156: I dreamt I saw thee, robed in purple flakes, Näin unta, et näin sinut kaurahiutaleisiin pukeutuneena,
ellauri241.html on line 206: It was no dream; or say a dream it was, Se ei ollut unta; tai, sano, unelma se oli,
ellauri241.html on line 207: Real are the dreams of Gods, and smoothly pass Todelliset ovat jumalien unelmat, ja ne menevät sujuvasti,
ellauri241.html on line 208: Their pleasures in a long immortal dream. Heidän ilonsa pitkässä kuolemattomassa unessa.
ellauri241.html on line 287: And dream, when in the serpent prison-house, ja haaveilla, kun hän oli käärmevankilassa.
ellauri241.html on line 299: Her dream, with feast and rioting to blend; kaupunkeihin juhlan ja mellakoiden kanssa.
ellauri241.html on line 300: And once, while among mortals dreaming thus, Ja kerran, kun kuolevaisten joukossa näin unelmoi,
ellauri241.html on line 437: As men talk in a dream, so Corinth all, Kuten miehet puhuvat unessa, niin koko Khersoneesos,
ellauri241.html on line 465: The ghost of folly haunting my sweet dreams. hulluuden haamulta, joka kummittelee suloisissa unissani.
ellauri241.html on line 769: "Begone, foul dream!" he cried, gazing again "Pois, paha uni!" hän huudahti katsellen jälleen
ellauri241.html on line 914: Was it a vision, or a waking dream? Oliko se näky vai valveuni?
ellauri241.html on line 1085: Fuck, that was just a silly dream,
ellauri241.html on line 1362: Couched in thy brightness, dream of fields divine,
ellauri241.html on line 1635: Endymion has an intense love for the goddess of his dreams but he professes his love to the Indian Maiden. He believes that his declaration of love seals his death and he asks for the goddess to sing a song to him so he can die peacefully. Within her song is the story of how she ended up wandering the forest alone. She says that she joined the god Bacchus and his cult of followers and traveled across countries. She witnessed people of multiple nations fall to Bacchus and decided to flee on her own. The Maiden ended up in the woods where she and Endymion have met.
ellauri241.html on line 1637: Endymion declares that he will let go of the possibility of immortality so that he can love and adore the Maiden instead. The god Mercury appears and strikes the ground with his magic wand. Winged horses arrive to fly Endymion and the Indian Maiden into the sky where the shepherd-prince dreams that he is in Olympus which is the sanctuary of the gods. He is conflicted when he suddenly sees Diana who is also known as Phoebe and she looms over him. Endymion looks over at the sleeping Indian Maiden and "could not help but kiss her: then he grew / Awhile forgetful of all beauty save / Young Phoebe's, golden hair'd; and so 'gan crave Forgiveness." Once again he looks at the Maiden with adoration, but Phoebe begins to fade away, and he protests in panic. The noise awakens the sleeping Maiden next to him. In this moment Endymion chooses to abandon Diana and immortality as he professes to the Maid, "I love thee! and my days can never last. I always love the one that is readily available, she is the best." They soar through the sky and the Indian Maiden grows pale and suddenly vanishes before Endymion's eyes. Ow fuck! He cries out in surprise and grief as he finds himself alone yet again.
ellauri241.html on line 1639: The Maiden reappears to the shepherd-prince as he returns to earth. Endymion is overcome with relief and joy and says that he has wasted too long searching for nothing but a dream and wants to start a life with the Maiden. She tells him that they cannot be together because he is forbidden to her. They wander through the forest and are quiet and somber until Endymion sees his sister Peona in the distance. They rush together and embrace. Peona implores Endymion to "weep not so" and "sigh no more" for the Indian Maiden can be his queen of Latmos. Endymion responds that "a hermit young, [he will] live in mossy cave" but Peona can visit him regularly. The resigned shepherd-prince leaves behind a confused Peona and Maiden and visits the altar of Diana to "bid adieu / To her for the last time." Peona and the Indian Maiden arrive. Endymion watches in stunned disbelief as the Indian Maiden transforms into his beloved Diana. It is revealed that Cynthia, Diana, and the Indian Maiden are the same woman. Actually Peona too! For all practical purposes, all women are the same: one hole up front and two more in the pants. Endymion swoons and after "three swiftest kisses" they vanish together leaving Peona who walks home in wonderment.
ellauri243.html on line 180: January Nelson is a writer, editor, and dreamer. She writes about astrology, games, love, relationships, and entertainment. January graduated with an English and Literature degree from Columbia University.
ellauri243.html on line 190: January Nelson is a writer, editor, and dreamer. She writes about astrology, games, love, relationships, and entertainment. January graduated with an English and Literature degree from Columbia University.
ellauri243.html on line 626: We all have dreams. The people who accomplish their dreams don´t just dream, though. They create processes. They build systems. They establish routines that keep them on track and ensure they reach their ultimate goal. Oddly enough, they (unlike pilots) don´t obsess over their goals. They obsess over their processes, because greatness results partly from inspiration but mostly from consistent, relentless effort.
ellauri243.html on line 627: And they stay on course because they constantly evaluate their progress, and make smart corrections to their process. Want to turn a dream into a reality? Follow this simple process.
ellauri245.html on line 677: Its 2022, Im 56 yrs old (born 1966 that is), kids grown, 5am, and feeling a little menopausal. Came back to a song that from the 1st time I heard it in my teens, I pictured the guy of my dreams singing to me. (Definitely not this wimpy tenor Chris with thinning bangles, but another more manly guy.) Didn´t we all? Definitely a classic! Greetings to us all narcissistic women of the eighties!
ellauri248.html on line 108: Rob: Yeah, Cassie was like that. She was always finding connections to things and blah blah blah. She made a great partner because hey remember that time 20 years ago when my friends and I were in the woods and blah blah blah I want to tell you about all the people I work with and give you a brief description of each one of them and also explain in detail how my boss is and blah blah blah. My mind is trying to remember what happened 20 years ago and you know Cassie and I are great partners and we're best friends and people think we're dating but blah blah blah. Hey, time flies, man. Did I tell you what happened to me as a child? Did I remind you about Katy? Also, her family sure is weird. The people at the dig site are weird. Everyone is a suspect blah blah blah. Let me pause here to tell you how I deal with my roommate and also O'Kelly and my childhood and my current job and Katy and her weird family and interrogation and coffee and vodka and this dream I had and looking for clues and in the woods and we keep hitting dead ends and and and and and blahhhhhhhhhhhh.
ellauri256.html on line 387: Lilya herself soon divorced Osip and moved from one subsequent husband to another. In the 1970s, she wrote in her journal: “I had a dream - I am angry at Volodya for shooting himself, and he so gently puts a tiny pistol in my hand and says: 'Anyway, you will do the same.'”
ellauri270.html on line 298: In The Daemon Lover, James (Jamie) Harris, a handsome author, deserts his dowdy 34-year old fiancée. The plot of this short story may be indebted to “The Demon Lover” by Elizabeth Bowen, whom Jackson ranked with Katherine Anne Porter as one of the best contemporary short story writers. When Jamie Harris disappears, he shatters his bride’s dreams of living in a “golden house in-the-country” (DL 12). Her shock of recognition that she will never trade her lonely city apartment for a loving home mirrors the final scenes of “The Lottery” and “The Pillar of Salt” as well as many other stories in which a besieged woman suffers a final and often fatal blow.
ellauri270.html on line 508: O dream of joy! is this indeed Oi onnen unta! Onko tää tosiaankin
ellauri275.html on line 460: In his Romantic poems, Chavchavadze dreamed of Georgia's glorious past, when "the breeze of life past" would "breathe sweetness" into his "dry soul." In poems Woe, time, time (ვაჰ, დრონი, დრონი), Listen, listener (ისმინეთ მსმენნო), and Caucasia (კავკასია), the "Golden Age" of medieval Georgia was contrasted with its unremarkable present. As a social activist, however, he remained mostly a "cultural nationalist," defender of the native language, and an advocate of the interest of Georgian aristocratic and intellectual elites. In his letters, Alexander heavily criticized Russian treatment of Georgian national culture and even compared it with the pillaging by Ottomans and Persians who had invaded Georgia in the past. In one of the letters he states: The damage which Russia has inflicted on our nation is disastrous. Even Persians and Turks could not abolish our Monarchy and deprive us of our statehood. We have exchanged one serpent for another.
ellauri275.html on line 462: After 1832, his perception of the national problems became different. The poet unambiguously pointed out those positive results which had been brought about by the Russian annexation, though the liberation of his native land remained to be his most cherished dream. Later, his poetry became less romantic, even sentimental, but he never abandoned his optimistic streak that makes his writings so different from those of his predecessors. Some of the most original of his late poems are, Oh, my dream, why have you appealed to me again (ეჰა, ჩემო ოცნებავ, კვლავ რად წარმომედგინე), and The Ploughman (გუთნის დედა) written in the 1840s. The former, a rather sad poem, surprisingly ends with hope for the future in contemplation of the poet. The latter combines Chavchavadze's elegy for his past years of youth with calm humorous farewell to lost sex-life and potency. Composer Tamara Antonovna Shaverzashvili used Chavchavadze’s text for her song “My Sadness.”
ellauri276.html on line 160: Venäjänsi englannista, ranskasta, saksasta ja espanjasta. Kaksi Calderonin draamaa erottuvat hänen käännöksistään : "Heresy in England" ja "Life is a dream"; Goethen " Faustin " ensimmäinen osa (M., 1843 ja Pietari, 1859); Shakespearen Romeo ja Julia (Pietari, 1862); draama Girardin "Naisen kidutus"; Alfred de Mussetin runo "Rolla" (Moskova, 1864); Heinen runot (M., 1863 ) jne. Grekovin käännökset erottuvat hyvistä säkeistä ja ovat melko lähellä alkuperäisiä. (Mäkin olen suomentanut Rollan, se on albumissa 36.)
ellauri276.html on line 419: I dream with silvery gull Unelmoin hopealokin
ellauri277.html on line 86: But I say to you that when you work you fulfil a part of earth’s furthest dream, assigned to you when the dream was born,
ellauri300.html on line 558: The lovers cried, and the poets dreamed
ellauri300.html on line 847: At noon Elijah started making fun of them: “Pray louder! He is a god! Maybe he is day-dreaming or relieving himself, or perhaps he's gone off on a trip! Or maybe he's sleeping, and you've got to wake him up!” 28 So the prophets prayed louder and cut themselves with knives and daggers, according to their ritual, until blood flowed. 29 They kept on ranting and raving until the middle of the afternoon; but no answer came, not a sound was heard.
ellauri301.html on line 100: The extraordinary global success of Swedish and later Norwegian crime fiction as a form of escapist literature for men had several causes. One is that police work is one of the last wholly unionised jobs in the world, so that our hero will never be sacked for anything other than gross misconduct – of which he, being the hero, is never really guilty. In the optimistic 60s, James Bond was distinguished from other middle-aged men by his licence to kill but by the 90s the policeman as a fantasy hero had a licence to keep his job. In the economic whirlwind of globalisation, this was something that a lot of frustrated middle-aged men could only dream of.
ellauri309.html on line 46: Framtiden finns inom oss, vi måste bara vara modiga nog att se det! Tämä yrittäjähenkinen opetus on Pixarin Disney-filmatisaatiosta Modig. Det är toppen på botten! Havet är djuu--upt! Hyvin vetää näin myös peukun näköinen erakkorapu Arielissa pikkutytöille American dreamia. Samaa tuubaa tarjoaa Nora Roberts vähän isommille tytöille.
ellauri321.html on line 112: Here sorrow and desolation awaited him. His wife had died a few weeks before his arrival, his farm had been ravaged, his children were in the care of strangers. But as he had been appointed French Consul in New York with the especially expressed approbation of Washington, he remained in America six years longer, with only one brief interval spent in France. Notwithstanding the disastrous practical influence of his book, through which five hundred Norman families are said to have perished in the forests of Ohio, he was now an honored citizen in his adopted country, distinguished by Washington, and the friend of Franklin. In these later years he accompanied Franklin on various journeys, one of which is recorded in the “Voyage Dans La Haute Pennsylvanie.” In 1790 he returned to France, living now at Rouen, now at Sarcelles, where he died on November 12, 1813. He was a man of “serene temper and pure benevolence,” of good sense and sound judgment; something also of a dreamer, yet of a rhetorical rather than a poetical temperament; typically French, since there were in him no extremes of opinion or emotion. He followed the dictates of his reason tempered by the warmth of his heart, and treated life justly and sanely.
ellauri321.html on line 117: Crèvecoeur sought and found, or imagined that he had found, that land of plain living and high thinking, of simple virtue and untrammeled manhood, which was one of the dreams of his age. Here were none of those social distinctions against which Werther so bitterly rebelled. The restraints of law were reduced to a minimum and in Crèvecoeur's favorite Society of Friends (of which he gave a long account to his French countrymen) there were not even priests. In a word, the spiritual rebellion of that period was essentially a rebellion against institutions, and the real corresponded very nearly to the ideal in colonial America. Beyond the limits of the colonies, moreover, the absolute ideal hovered.
ellauri322.html on line 258: Four months after she had gone to Paris, Mary Wollstonecraft met at the house of a merchant, with whose wife she had become intimate, an American named Gilbert Imlay. He won her affections. That was in April, 1793. He had no means, and she had home embarrassments, for which she was unwilling that he should become in any way responsible. A part of the new dream in some minds then was of a love too pure to need or bear the bondage of authority. The mere forced union of marriage ties implied, it was said, a distrust of fidelity. When Gilbert Imlay would have married Mary Wollstonecraft, she herself refused to bind him ; she would keep him legally exempt from her responsibilities towards the father, sisters, brothers, whom she was supporting. She took his name and called herself his wife, when the French Convention, indignant at the conduct pf the British Government, issued a decree
ellauri342.html on line 459: To loosen an elusive dream Olemme vain pyllykieliä, jotka pälättää
ellauri370.html on line 319: A lot of Elvis Presley songs were written especially for him, but according to Mac Davis, Presley´s 1969 hit, In the Ghetto, was not such a song. Mac Davis commented, 'I never really dreamed of pitching that song to Elvis. I had been working on In the Ghetto for several years. I grew up playing with a little boy in Lubbock, Texas, whose family lived in a dirt street ghetto. His dad and my dad worked in construction together. So that little boy and I sort of grew up together. I never understood why his family had to live where they lived while my family lived where we lived. Of course back in those days, the word "ghetto" hadn't come along yet. (It is Venetian for "foundry".) But I always wanted to write a song about that situation and title it 'The Vicious Circle'. I thought that if you were born in that place and that situation, then you grow up there and one day you die there, and another kid is born there that kind of replaces you. And later I started thinking about the ghetto as a title for the song.
ellauri378.html on line 88: Trotski kirjoitti useita ajatuksia juutalaiskysymyksistä. Hän sanoi, että hänen alkuaikoinaan "nojauduin pikemminkin siihen ennusteeseen, että eri maiden juutalaiset sulautuisivat ja että juutalaiskysymys katoaisi näin." Haha, in your dreams. Ei ne sulaudu edes toisiinsa.
ellauri382.html on line 360: Meet the baddest man on the planet! Retired Chief Petty Officer David Goggins is the only person to ever complete US Army Ranger School, US Air Force Tactical Control Party Training, and US Navy Seal Training. Individually, each of these training programs are nearly impossible to complete. He not only completed the training, but served honorably, completing numerous combat missions in Afghanistan in each capacity, killing a lot of foreigners. Petty officers are U.S. Army's middle class which prevents the rank and file from lashing out on the officers. That's democracy. Middle class dreams about getting to the top and the rubble dreams about rising to middle class, pitelemään mahtavaa parrua.
ellauri382.html on line 471: Frequent disturbing dreams
ellauri389.html on line 83: Coleridge's "Kubla Khan" already suggests that Coleridge (the Brit) himself is the next poet-hero and successor to China's genius. As a fragment, however, the poem's famously incomplete glimpse of Chinese brilliance foregrounds the poem's failure to realize its promise. Lamb's essay provides a more contemporary explanation of Coleridge's dream: cheap porcelain was the immanent inspiration of "Kubla Khan."
ellauri390.html on line 576: John Strelecky was born and grew up in the suburbs of Chicago, Illinois. As a youngster, he dreamed of being an adventurer and traveling the world. For almost a decade, he held two and three jobs at a time–trying to make enough money to pay for training to become a pilot.
ellauri390.html on line 577: After attending Embry Riddle Aeronautical University and working for two years, his dream was suddenly and permanently taken away because of a rare medical condition (no IQ).
ellauri390.html on line 584: At the age of 32, after spending several years in high-stress, high profile, long hour jobs (doing what? maissihiutaleita?) he left his “normal” life to finally follow his dream of traveling the world.
xxx/ellauri044.html on line 1136: Meidän tulee vastustaa sitä kulttuurissamme vallalla olevaa ajatusta, joka jakaa maailman voittajiin ja häviäjiin, ja vihjaa että elämässä on mahdollista saavuttaa kaikki haluamansa asiat. Eli the American dream. Mitäh!? Taas tollanen vasemmistolainen viides kolonna, vitun kommari. MAGA! MAGA MAGA!
xxx/ellauri057.html on line 200: On tammikuu. Eräät jänixet söivät Alman omenapuut. Alma on Toopen dream girl, väkevä kuin äiskä mutta vielä antavampi.
xxx/ellauri057.html on line 1023: Siitä puhe mistä puute. Jenkeissä pyllistellään jeesuxelle ja vedetään kättä maga-lippaan tähtilipun edessä ja pöyhistellään charity-gaaloissa. Just six että sieltä puuttuu tyystin solidaarisuus. Jos sun käy köpelösti se on oma vika pikku sika, mitäs läxit tumpeloimaan, tyhmä köyhä sairas mutiainen vanhus, etkä rikastunut ajoissa niin kuin me fixummat. USA pyrkii ihan intopiukeena kasvattamaan tuloeroja. Koko maa pyörii sen varassa. The American dream.
xxx/ellauri068.html on line 324: One of the earliest mentions of an incubus comes from Mesopotamia on the Sumerian King List, c. 2400 BC, where the hero Gilgamesh's father is listed as Lilu. It is said that Lilu disturbs and seduces women in their sleep, while Lilitu, a female demon, appears to men in their erotic dreams. Two other corresponding demons appear as well: Ardat lili, who visits men by night and begets ghostly children from them, and Irdu lili, who is known as a male counterpart to Ardat lili and visits women by night and begets from them. These demons were originally storm demons, but they eventually became regarded as night demons because of mistaken etymology.
xxx/ellauri076.html on line 203: Girls! Girls! Girls! is a 1962 Golden Globe-nominated American musical comedy film starring Elvis Presley as a penniless Hawaiian fisherman who loves his life on the sea and dreams of owning his own boat. "Return to Sender", which reached No. 2 on the Billboard pop singles chart, is featured in the film. The film opened at #1 on the Variety box office chart and finished the year at #19 on the year-end list of the top-grossing films of 1962. The film earned $2.6 million at the box office.
xxx/ellauri076.html on line 408: dreamstime.com/z/ssmiling-beautiful-girl-long-red-hair-using-smartphone-portrait-happy-smiling-63050481.jpg" height="200px" />
xxx/ellauri076.html on line 437: dreamstime.com/b/beautiful-teenaged-girl-thailand-1769946.jpg" height="200px" />
xxx/ellauri076.html on line 525: Nebraska-niminen leffa hölmöstä vanhuxesta, joka ei ollut oppinut mitään koko elämänsä aikana, vaan meni lehtitilauskusetuxen halpaan koko rahan edestä, oli hyvä sixi että a) siinä oli vain tavallisia ihmisiä b) siinä ei tapahtunut mitään tavallisuudesta poikkeavaa ja c) siinä kaikesta tylystä persuilusta huolimatta oli jotain epämakeaa välittämisen tuntua perheen kesken ainakin. Muut sukulaiset oli kyllä kusipäitä. Mukana sopassa myös d) perijenkkiläistä American dreamia keskellä epätoivoisen köyhää elotonta preeriaa. Tyhmä äijä oli sikäli tyhmä että se uskoi kaiken mitä sille sanottiin. Sepä vahinko sanoi huijarilehden konttorimuija osaaottavasti. Istuinpehmuste vai lippis? Lippis, valizi vanhus irtohampaat sihisten. Prize Moron luki lakissa. Näyttelijä esitti erittäin osuvasti ikävää narsistista dementtiä, muttei juuri osoittanut mitä hyvää siinä ehkä oli, paizi viimeistä silmäystä ylikilttiin poikaan avolavan ratissa. No kuten Seija huomautti, Alzheimer voi muuttaa luonnetta loppupeleissä. Mustakin voi tulla vaikka kiltti.
xxx/ellauri081.html on line 513: Benny was born Benjamin Kubelsky in Chicago on February 14, 1894, and grew up in nearby Waukegan. He was the son of Jewish immigrants Meyer Kubelsky (1864–1946) and Emma Sachs Kubelsky (1869–1917), sometimes called "Naomi". Meyer was a saloon owner and later a haberdasher who had emigrated to America from Poland. Emma had emigrated from Lithuania. Benny began studying violin, an instrument that became his trademark, at the age of 6, his parents hoping for him to become a professional violinist. He loved the instrument, but hated practice. His music teacher was Otto Graham Sr., a neighbor and father of football player Otto Graham. At 14, Benny was playing in dance bands and his high school orchestra. He was a dreamer and poor at his studies, and was ultimately expelled from high school. He later did poorly in business school and at attempts to join his father´s business. In 1911, he began playing the violin in local vaudeville theaters for $7.50 a week (about $210 in 2020 dollars). He was joined on the circuit by Ned Miller, a young composer and singer.
xxx/ellauri085.html on line 205: I'm 27, and tired of going to work every day. Sixty-five seems so far away. What can I do to get through it all, when I don't really have any dream to aspire toward?
xxx/ellauri085.html on line 230: Lastly, okay, you’re unable to have any “dreams” to aspire towards because you’re dreading to go to work every day.
xxx/ellauri085.html on line 232: I had no dream when I entered the workforce, I don’t even know what that means.
xxx/ellauri085.html on line 233: I thought wearing a sleek as suit, working in a Fortune 500 company is a dream come true.
xxx/ellauri085.html on line 234: Until I got out of it and realize that was not my dream, it was someone else’s dream. Change something.
xxx/ellauri085.html on line 237: For more personal answers around this topic, follow me on quora! If I'm lucky and you are stupid enough, I can wriggle myself inside your pocket-book, so my dreams can suck up yours like a leech.
xxx/ellauri086.html on line 586: If Kip humped his dreamgirl Peewee it would count as statutory rape. I'm sure Bob would shut an understanding eye to that. If the wormfaces ate up them both that would count as a mutton snack. Bob would not countenance anything like that. We are people, not some animals like sheep, or hobgoblins either, come to that. You gotta choose your team, and stick to them. George Byron would not agree, nor do I.
xxx/ellauri086.html on line 708: Elmer Kennedy-Andrews remarks that Hawthorne in "The Custom-house" sets the context for his story and "tells us about ´romance´, which is his preferred generic term to describe The Scarlet Letter, as his subtitle for the book – ´A Romance´ – would indicate." In this introduction, Hawthorne describes a space between materialism and "dreaminess" that he calls "a neutral territory, somewhere between the real world and fairy-land, where the Actual and the Imaginary may meet, and each imbues itself with nature of the other". This combination of "dreaminess" and realism gave the author space to explore major themes.
xxx/ellauri086.html on line 802: Doubting, dreaming dreams no mortal ever dared to dream before; Kuvittelin kaikenlaista taivaallista sekä maista,
xxx/ellauri086.html on line 894: And his eyes have all the seeming of a demon’s that is dreaming, Kas se onkin vertauskuva, joku professori Mikko Juva,
xxx/ellauri122.html on line 868: His desire leads him to riches he could have never imagined. A motivational account of how following one's dreams can lead to the discovery of great wonders, 'The Alchemist' is an enchanting read filled with wisdom. Now this is the pits! The only worse choice on the list than this braindead dago would have been the old Russian hag Ayn Rand.
xxx/ellauri122.html on line 956: Often considered the gateway title to other graphic novels like 'V for Vendetta' and 'Batman: The Dark Knight Returns,' the series dissects the entire concept of the superhero in a way that sticks with readers for years. Fucking superheroes, why the heck do Americans get so hot about them? Well it's all part of the American dream.
xxx/ellauri122.html on line 1027: Did Barbie have anything to do with shaping feminism today? Many may argue, yes, that Barbie was the one doll that broke the limits, gave girls a hope for independence and success. Barbie never did housework, she never had any children, and she was never married. It was a new American dream to females, and Barbie was the newest idol.
xxx/ellauri122.html on line 1202: "It has everything to do with the desperate desire to get married," she said. "A woman here is brought up for two things: marriage and motherhood. Valeria is the ultimate demonstration of what a Ukrainian woman is willing to do to herself. I bet Barbie is exactly what men dream about."
xxx/ellauri123.html on line 680: I write for dreamers, doers, and unbroken optimists. For my best articles & book updates, go here: https://niklasgoeke.com/.
xxx/ellauri124.html on line 332: Cubus schemed and dreamed...
xxx/ellauri125.html on line 729: Mitäs pahaa Katy on sille tehnyt? Ai jaha, Katy-täti (25) sanoi Bota (18) sakkolihaxi jossain aikaisessa shoussa kun se oli kuitenkin jo täysi-ikäinen! Thank god you're at least 18! Katy setäili! Tää muistetaan. Kuuntelin Katyn karjuntaa, se on nähtävästi naapurin tyttö Santa Barbarasta (missä me surfattiin Snoopyllä 1977 nuorina laihoina ja ruskeina). Sillä on lapsekkaita lauluja, Roarissa se on just päässyt jonkun petkuttavan mulkun pauloista ja Teenage dreamissä se kuulostaa Nabokovin polluutiounelta. Mitähän Bo on tässä miettinyt? Ja se taitaa laskea Courtney Loven syyxi pikkuruisen Kurt Cobainin seppukun. No Nirvana oli aika paska bändi mun mielestä, ja eiköhän Kurre ollut izekin aika lailla konin koukussa. Katy koitti ensin laulaa gospelia oikealla nimellään Katy Hudson, mutta se naula ei jostain syystä vetänyt.
xxx/ellauri125.html on line 809: Amy Phillips of The Village Voice wrote: "Love is willing to act out the dream of every teenage brat who ever wanted to have a glamorous, high-profile hissyfit [= temper tantrum], and she turns those egocentric nervous breakdowns into art. Sure, the art becomes less compelling when you've been pulling the same stunts for a decade. But, honestly, is there anybody out there who fucks up better?". The album sold fewer than 100,000 copies. Love later expressed regret over the record, blaming her drug problems at the time. Shortly after it was released, she told Kurt Loder on TRL: "I cannot exist as a solo artist. It's a joke."
xxx/ellauri127.html on line 545: Or, a vision in a dream. A Fragment. Tai uninäky. Pala.
xxx/ellauri127.html on line 618: A person from Porlock was an unwelcome visitor to Samuel Taylor Coleridge during his composition of the poem Kubla Khan in 1797. Coleridge claimed to have perceived the entire course of the poem in an opiatic dream, but was interrupted by this visitor from Porlock while in the process of writing it. Kubla Khan, only 54 lines long, was never completed. Thus "person from Porlock", "man from Porlock", or just "Porlock" are literary allusions to unwanted intruders who disrupt inspired creativity.
xxx/ellauri127.html on line 721: Book I gives Endymion's account of his dreams and experiences, as related to Peona, which provides the background for the rest of the poem. In Book II, Endymion ventures into the underworld in search of his love. He encounters Adonis and Venus—a pairing of mortal and immortal—apparently foreshadowing a similar destiny for the mortal Endymion and his immortal paramour. Book III reveals Endymion's enduring love, and he begs the Moon not to torment him any longer as he journeys through a watery void on the sea floor. There he meets Glaucus, freeing the god from a thousand years of imprisonment by the witch Circe. Book IV, "And so he groan'd, as one by beauty slain."
xxx/ellauri127.html on line 827: And there I dreamed, ah woe betide, Ja mä näin unta, voi hemmetti,
xxx/ellauri127.html on line 828: The latest dream I ever dreamed Laitimmaisen unen ikinä
xxx/ellauri129.html on line 443: Smarra gets two stars, both were disappointing chores to read. If you are considering taking up Smarra because you heard it was the earliest vampire story, I think you´re heading for disappointment. In a dream sequence, some undead creatures with sharpened teeth that like to drink blood are described, but nothing further. There´s no real vampire lore or any characterization of vampirism to sink one´s teeth into. I had a hard time figuring out the plot of Smarra, but I think it´s mostly about a man trying to wake up from bad dreams and finding out he can´t. The dreams are recounted vaguely, in terms of plot, but in excruciating detail, in terms of vision, none of which has its significance explained.
xxx/ellauri134.html on line 405: Goal: to make dreams come true
xxx/ellauri137.html on line 377: You who were all my pleasures, all my hopes and dreams!
xxx/ellauri139.html on line 218: (3) He had a really awful nightmare about being attacked by a horrible Kafkaesque scorpion-monster thing in his bedroom. In the dream, his mom called in his actually-dead dog to kill this reptilian thing, and it bites the dog while the dog is biting it.
xxx/ellauri139.html on line 330: Within the castle, Madeline, one of the main characters of this story is stuck dancing amongst the guests. She has been informed by older women that this is a night during which a virgin lady, after following certain rituals, might in her dreams see the image of her true love. She is distracted by these thoughts and unable to enjoy the dance.
xxx/ellauri139.html on line 334: When Madeline finally enters the room, undresses, and falls to sleep, Porphyro is watching her. When he decides that she has fallen completely asleep he makes his approach and wakes her with the playing of a flute. She is ripped from a dream in which she was with a heavenly, more beautiful version of Porphyro and is aghast when she sees the real one. She believes for a moment that he is close to death.
xxx/ellauri139.html on line 422: She sigh’d for Agnes’ dreams, the sweetest of the year. Se kaipas Aunen unia, vuoden mehukkaimpia.
xxx/ellauri139.html on line 518: “Sweet lady, let her pray, and sleep, and dream Rääkkäämättä leidiä, sen antaa yxin maata?
xxx/ellauri139.html on line 629: Pensive awhile she dreams awake, and sees, Se seisoo siinä, miettii mitä miettinee,
xxx/ellauri139.html on line 690: Sank in her pillow. Shaded was her dream Vaapperan kohti tylleröisen pielusta.
xxx/ellauri139.html on line 714: The blisses of her dream so pure and deep Uniko tolla lailla kehtoo vehtoa?
xxx/ellauri139.html on line 719: Fearing to move or speak, she look’d so dreamingly. (Vielä yxi värssy pitää tähän kexiä.)
xxx/ellauri139.html on line 736: Into her dream he melted, as the rose Pyörimään pyöriäisenä märissä unissa.
xxx/ellauri139.html on line 744: “This is no dream, my bride, my Madeline!” Eise ollut unta, vaan totisinta totta.
xxx/ellauri139.html on line 746: “No dream, alas! alas! and woe is mine! "No vizi et kaisä jätä mua pitelemään pottaa!
xxx/ellauri139.html on line 754: “My Madeline! sweet dreamer! lovely bride! "Ei vaitiskaan Metusalem, ei suinkaan!
xxx/ellauri139.html on line 800: That night the Baron dreamt of many a woe, Sinä aamuna Maifret nukkui pitkään,
xxx/ellauri149.html on line 376: Biblical purists pointed out a small number of deviations from biblical text as additional concerns; for example, Pilate himself having the dream instead of his wife, and Catholics argue the line "for all you care, this bread could be my body" is too Protestant in theology, although Jesus does say in the next lines, "This is my blood you drink. This is my body you eat. Fresh cut from my butt."
xxx/ellauri154.html on line 222: Its symbolism is ambiguous. Does it signal lust, or is it a symbol of purity? Mieti sitä. Moreau’s typically enigmatic approach made him a target for the promoters of Naturalism, most notably Émile Zola, who accused him of retreating into his dreams and offering an artistic response to the challenge posed by science—one that couldn’t possibly have value in the modern age. Such criticism hurt him deeply and only fueled Moreau’s purposeful cultivation of ambiguity.
xxx/ellauri157.html on line 204: Baal Shem (Hebrew: בַּעַל שֵׁם, pl. Baalei Shem) is a title for a historical Jewish practitioner of Practical Kabbalah and miracle worker. Employing the names of God, angels, Satan and other spirits, Baalei Shem heal, enact miracles, perform exorcisms, treat various health issues, curb epidemics, protect people from disaster due to fire, robbery or the evil eye, foresee the future, decipher dreams, and bless those who sought his powers.
xxx/ellauri157.html on line 392: All those colours to my dreams
xxx/ellauri157.html on line 421: All those colours to my dreams
xxx/ellauri165.html on line 348: After the Treaty of Amiens on 25 March 1802, Nelson was released from active service, but wanted to keep his new-found position in society by maintaining an aura of wealth, and Emma worked hard to live up to this dream. Nelson's father became seriously ill in April, but Nelson did not visit him in Norfolk, staying home to celebrate Emma's 37th birthday on the very day Edmund died; the son did not attend his father's funeral.
xxx/ellauri170.html on line 86: The glory and the freshness of a dream. Unenomaisen upeelta ja raikkaalta.
xxx/ellauri170.html on line 143: Where is it now, the glory and the dream? Missä on se nyt, kunnia ja haave?
xxx/ellauri170.html on line 181: Some fragment from his dream of human life, Joku pala sen ihmiskäsityxestä,
xxx/ellauri170.html on line 803: Do you sleep, dream?
xxx/ellauri170.html on line 935: P.S. Richard* likes to live in relative anonymity in his own dreamtime and hence only his first name is used here. He is not accepting coffee invitations from believers. FAQ Richard*!
xxx/ellauri173.html on line 414: L'après-midi d'un faune (or "The Afternoon of a Faun") is a poem by the French author Stéphane Mallarmé. It describes the sensual experiences of a faun who has just woken up from his afternoon sleep and discusses his encounters with several nymphs during the morning in a dreamlike monologue.
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xxx/ellauri176.html on line 864: "The whole movie is like an NRA wet dream. Jack Reacher already feels as if it belongs to another era."
xxx/ellauri179.html on line 298: An unmatched introduction to Hemingway’s particular skill as a writer is the beginning of A Farewell to Arms, certainly one of the most pregnant opening paragraphs in the history of the modern American novel. In that passage the power of concentration reaches a peak, forming a vivid and charged sequence, as if it were a 10-second video summary. It is packed with events and excitement, yet significantly frosty, as if unresponsive and numb, like a silent flashback dream sequence in which bygone images return, pass in review and fade away, leaving emptiness and quietude behind them. The lapidary writing approaches the highest style of poetry, vibrant with meaning and emotion, while the pace is maintained by the exclusion of any descriptive redundancy, of obtrusive punctuation, and of superfluous or narrowing emotive signs:
xxx/ellauri179.html on line 803: It is the close of a busy and vexatious day—say half past five or six o´clock of a winter afternoon. I have had a cocktail or two, and am stretched out on a divan in front of a fire, smoking. At the edge of the divan, close enough for me to reach her with my hands, sits a woman not too young, but still good-looking and well dressed—above all, a woman with a soft, low-pitched, agreeable voice. As I snooze she talks—of anything, everything, all the things that women talk of: books, music, the play, men, other women. No politics. No business. No religion. No metaphysics. Nothing challenging and vexatious—but remember, she is intelligent; what she says is clearly expressed... Gradually I fall asleep—but only for an instant... then to sleep again—slowly and charmingly down that slippery hill of dreams. And then awake again, and then asleep again, and so on. I ask you seriously: could anything be more unutterably beautiful?
xxx/ellauri179.html on line 896: An’ dreamin’ Hell-fires to see; kuvittelet kärzääväsi helvetissä;
xxx/ellauri186.html on line 181: Seneca used to read his stock quotes frequently, like Scrooge McDuck. Seneca's optimistic quotes inspire you to use your time in a wise manner and live the life of your dreams.
xxx/ellauri186.html on line 768: The text was viewed as unhistorical, spurious, and useful only as a vehicle of Christian curiosity. To further add to the case of why it was never remotely considered within the canon, the orthodox Christian writers of the late second century associated the infancy gospel with circles that they considered heretical, particularly with groups of Gnostic Christians. No scholar would dream of taking
xxx/ellauri199.html on line 134: a poet, a dreamer, a mystic of truths;
xxx/ellauri200.html on line 148: Of the Boer War. I dreamed that
xxx/ellauri200.html on line 150: The later dreams were all of words.
xxx/ellauri200.html on line 655: Yes! 'wish-fulfilment dreams' we spin to cheat Jes! Me kexitään toiveunisatuja tälläsiä
xxx/ellauri200.html on line 657: Whence came the wish, and whence the power to dream, Mistä tää tuli, tää tarve ja kyky unelmoida,
xxx/ellauri224.html on line 135: In the conclusion of the film, Moore notes that the United States Constitution no longer protects normal Americans from the wealthy and powerful of American society, and that the American Dream is now nothing more than a bad wet dream.
xxx/ellauri228.html on line 368: And this I dreamt, and this I dream Tätä unta näin, ja nään
xxx/ellauri228.html on line 370: And this I dreamt, and this I dream, Tätä unta näin, ja nään,
xxx/ellauri228.html on line 371: And some time this I will dream again, Ja joskus nään tätä unta taas,
xxx/ellauri228.html on line 373: You will dream everything I have seen in dream. Sä näät kaiken mistä mäkin unta näin.
xxx/ellauri229.html on line 465: In this book four children share a dream. They all wake in the Castle of the Story Giant, a being that only comes alive when children dream him. He collects all the stories of the world, from the very dawn of consciousness and is waiting to hear the one last story he’s not yet found before he dies. This is a very wonderful collection of folk tales and version, told in Patten’s pinpoint prose.
xxx/ellauri229.html on line 759: The 200 or so lyric pieces which represent the core of his poetic genius, whether describing a scene of nature or passions of love, put a premium on metaphysics. Tyutchev´s world is bipolar like himself. He commonly operates with such categories as night and day, north and south, dream and reality, cosmos and chaos, still world of winter and spring teeming with life. Each of these images is imbued with specific meaning. (Huoh.)
xxx/ellauri229.html on line 768: the way you dream, the things you feel. älä kerro mitä unta näit ja mikä nyt on fiiwis.
xxx/ellauri230.html on line 478: 
xxx/ellauri230.html on line 510: 
xxx/ellauri235.html on line 573: Like other poets of the Archaic Age, he reveals a deep sense of the vicissitudes of life and yet, unlike them, he also articulates a passionate faith in what men can achieve by the grace of the gods, most famously expressed in his conclusion to one of his Victory Odes: Creatures of a day! What is a man? What is he not? A dream of a shadow Is our mortal being. But when there comes to men A gleam of splendour given of heaven, Then rests on them a light of glory And blessed are their days.
xxx/ellauri237.html on line 803: (Vaikka suurin osa Nerudan runoista käsittelee rakkautta, tämä viittaa syyllisyyteen. Viesti on selvä: älä syytä varsinkaan izeäsi, vaan katso itseäsi peiliin ja siirry 5 ruutua eteenpäin kassan kautta. Aina leuka pystyssä vaikka Juhaa siihen sattuisi. Vizi mitä self helppiä, South American dreamia! Ole elämäsi Seppo.)
xxx/ellauri250.html on line 561: In his early teen years, Bukowski had a cow when he was introduced to alcohol by his friend William "Baldy" Mullinax, depicted as "Eli LaCrosse" in Ham on Rye, son of an alcoholic surgeon. "This 'alcohol' is going to help me for a very long time," he later wrote, describing a method (of drinking) he could use to come to more amicable terms with his own life. After graduating from Los Angeles High School, Bukowski attended Los Angeles City College for two years, taking courses in art, journalism, and literature, before quitting at the start of World War II. He then moved to New York City to begin a career as a financially pinched blue-collar worker with dreams of becoming a writer.
xxx/ellauri251.html on line 148: And dreams and desolation of the night! ja unet ja huonosti nukutut yöt!
xxx/ellauri251.html on line 274: Swifter than dreams the white flown feet of sleep; Nopeammin kuin unennäöt laskiessa lampaita;
xxx/ellauri251.html on line 282: Who dream and die with dreaming; any god, Joilta jää kesken uni viimeinen; joka teräsmies,
xxx/ellauri251.html on line 287: For if sleep have no mercy, and man’s dreams Sillä jos unet on armottomia, ja unennäöt
xxx/ellauri251.html on line 290: He shall not pray to dream sweet things to-night, Se ei kyllä rukoile mitään hyvixiä tänä yönä,
xxx/ellauri251.html on line 291: Having dreamt once more bitter things than death. Nähtyään taas kuolemaakin katkerampia unia.
xxx/ellauri251.html on line 300: And all my dreams to stuff that kindles it. Ja mun unennäöt sen sytykkeexi.
xxx/ellauri251.html on line 419: Am part of them and know not; but in dreams oon osa niistä tietämättäni; mutta unissa
xxx/ellauri251.html on line 434: Such dreams divide me dreaming; for long since Sellaiset unet saa mut sekaisin; sillä aiemmin
xxx/ellauri251.html on line 435: I dreamed that out of this my womb had sprung Mä näin unta että mun kohdusta oli purskahtanut
xxx/ellauri251.html on line 488: I dreamt, and saw the black brand burst on fire
xxx/ellauri251.html on line 791: But thou, son, be not filled with evil dreams,
xxx/ellauri251.html on line 833: But from the light and fiery dreams of love
xxx/ellauri251.html on line 835: Visions not dreams, whose lids no charm shall close
xxx/ellauri251.html on line 942: Scared with vain dreams and fluttering like spent fire,
xxx/ellauri251.html on line 1581: Thou hast sent us sleep, and stricken sleep with dreams,
xxx/ellauri251.html on line 2046: My dreams are fallen upon me; burn thou too.
xxx/ellauri251.html on line 2204: How shall I bear my dreams of them, to hear
xxx/ellauri251.html on line 2382: And murmurs as who talks in dreams with death.
xxx/ellauri251.html on line 2479: Nor flying dreams of death to be
xxx/ellauri251.html on line 2947: The dreamer of dreams,
xxx/ellauri261.html on line 470: Cricket Walter Kerr wrote: Hello, Dolly! is a musical comedy dream, with Carol Channing the girl of it. ... Channing opens wide her big-as-millstone eyes, spreads her white-gloved arms in ecstatic abandon, trots out on a circular runway that surrounds the orchestra, and proceeds to dance rings around the conductor. ... With hair like orange sea foam, a contralto like a horse´s neighing, and a confidential swagger, she is a musical comedy performer with all the blowzy glamor of the girls on the sheet music of 1916. The lines are not always as funny as Miss Channing makes them.
xxx/ellauri293.html on line 419: Tutkimuksessani ja potilaiden kanssa työskentelyssäni en koskaan ollut todella tyytyväinen kronotyyppien kolmen kategorian purkamiseen. Morning-Eveningness Questionaire (MEQ) ei ota huomioon sitä, mitä tiedämme uniajasta (dreamtime) ja kuinka uniajat toimivat yhdessä vuorokauden uni-valveiluasetusten kanssa yksilöllisen uniprofiilimme luomiseksi. Kuten unen vuorokausirytmit, myös unen ja pillun halu on geneettisesti määrätty. Joillakin meistä on biologisesti langallinen matala nukkumiskyky, toisilla keskipitkä unikyky ja joillakin meistä korkea unikyky.
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xxx/ellauri312.html on line 918: Sitten kaikki varmaan puhuisivat amerikanenglantia. End of history. In your dreams, Daffy Duck.
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xxx/ellauri329.html on line 87: My dreams come true
xxx/ellauri357.html on line 123: and fashion designer. Pia lives the life of her dreams,
xxx/ellauri379.html on line 119: One of the most resoundingly Modernist elements of Conrad’s work lies in this kind of early post-structuralist treatment of language—his insistence on the inherent inability of words to express the real, in all of its horrific truth. Marlow’s journey is full of encounters with things that are “unspeakable,” with words that are uninterpretable, and with a world that is eminently “inscrutable.” In this way, language fails time and time again to do what it is meant to do—to communicate. It’s a phenomenon best summed up when Marlow tells his audience that “it is impossible to convey the life-sensation of any given epoch of one’s existence—that which makes its truth, its meaning—its subtle and penetrating essence… We live, as we dream—alone.” Kurtz—as “eloquent” as he may be—can’t even adequately communicate the terrifying darkness he observed around him.“The horror! The horror!” is all he can say. Some critics have surmised that part of Heart of Darkness’s mass appeal comes from this ambiguity of language—from the free rein it gives its readers to interpret. Others posit this as a great weakness of the text, viewing Conrad’s inability to name things as an unseemly quality in a writer who’s supposed to be one of the greats. Perhaps this is itself a testament to the Heart of Darkness’s breadth of interpretability.
xxx/ellauri379.html on line 154: The media have described Lipa as having a mezzo-soprano or contralto vocal range. Her music is primarily pop, and has also been described as disco, house and R&B. Stylistically, her music has been described as dance-pop, synth-pop, R&B, dream pop, alternative pop, and nu-disco subgenres. She describes her musical style as being "dark pop". She is also noted for singing in a "distinct, husky, low register", and her "sultry" tone. Regarding her songwriting process, Lipa states she usually comes to the studio with a concept and starts developing the song with her co-writers. She cites Kylie Minogue, Pink, Nelly Furtado, Jamiroquai, Kendrick Lamar, and Chance the Rapper among her musical influences. "My idea of pop has been P!nk and Christina Aguilera and Destiny's Child and Nelly Furtado", said Lipa in a GQ interview in 2018. Her second studio album Future Nostalgia (2020) was inspired by artists that she listened to during her teens, including Gwen Stefani, Madonna, Moloko, Blondie and Outkast. KIINNNNNNOS. Liikkuuko sinun Lipasi? Ei ota minun orani. I love her lack of energy. Fiat voluntas tua.
xxx/ellauri385.html on line 566: Leans on a shadowy staff—a staff of dreams. Nojaa varjosauvaan --- unelmiensa keppiin.
xxx/ellauri385.html on line 603: Or like a dream of murder in the night, Tai uni yöllä tai leipäveizimurhaaja,
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