ellauri046.html on line 779: Those tissues of falsehood which folly has wove!
ellauri089.html on line 546: § 68. Metaphysics, as dealing with a "supersensible reality" may have a bearing upon practical Ethics (1) if its supersensible reality is conceived as something future, which our actions can affect; and (2) since it will prove that every proposition of practical Ethics is false, if it can shew that an eternal reality is either the only real thing or the only good thing. Most metaphysical writers, believing in a reality of the latter kind, do thus imply the complete falsehood of every practical proposition, although they fail to see that their Metaphysics thus contradicts their Ethics. …
ellauri096.html on line 147: , he also believes that at least of one these answers is false. This ensures he believes a contradiction. If any of his answers is false, then the student believes a contradiction (because the only falsehoods on the question list are contradictions). If all of his test answers are true, then the student believes the following contradiction: ∼(A1&A2&…&A100)
ellauri140.html on line 162: The House is an emblem of sin and worldliness. The ruler of the palace is Lucifera, who is accompanied by her six counselors. Together they represent the seven deadly sins. When the Redcrosse Knight encounters the palace, he is met with Lucifera and her parade. Each counselor, a sin, and the falsehood of the structure itself representing a flawed nature, altogether embody the House of Pride.
ellauri203.html on line 458: falsehood--in a word, the same busy squirrel's turning in the same old
ellauri222.html on line 155: One day’s ordinary falsehood if you could convert it into silt would choke the Amazon back a hundred miles over the banks. However, it never appears in this form but is distributed all over like the nitrogen in potatoes.
ellauri362.html on line 226: Koska olet tollanen petollinen roisto, While folly and falsehood inhabit thy mind,
ellauri392.html on line 736: But, America, according to Jewish position, is a sick society, increasingly given over to violence, aggression, greed, corruption and falsehood. Some material aspects are getting better, boga shem – status symbols like cars, TV sets, refrigerators, radios are visible in many homes;
ellauri428.html on line 278: It’s not trivial to spell out precisely how stories (in contrast to propositions) can be true – telling falsehoods doesn’t suffice, but the story must also, as de Bres says, represent the “central elements of the life”.
ellauri434.html on line 192: Bulgakov’s canonisation is also perpetuated in UK universities. As a new lecturer, I was taken to task by a senior colleague for including Collaborators in an undergraduate comparative literature course on political drama. How could I present students with Hodge’s nasty falsehoods about a great anti-Soviet writer? I agreed to repair the damage by pairing Collaborators with Andrew Upton’s The White Guard, a version in English of Bulgakov’s play The Day of the Turbins. Confusingly, Upton gave his version the name of the Bulgakov’s novel, The White Guard, on which The Day of the Turbins is based. That was the novel, intended to be a War and Peace for the twentieth century, that Bulgakov hoped to finish during his visit to Kyiv in 1923. Set in the years of civil war that followed the 1917 revolution, it depicts a principled and loving Russian Empire family, the Turbins, who are beset on all sides by invading forces, political opportunists, avant-garde writers, and brutish Ukrainian nationalists. By 1925, only two thirds of the novel had been published when the journal in which it was serialised was shut down. Undeterred, Bulgakov began to adapt the novel as a play for the Moscow Arts Theatre. While very popular, The Day of the Turbins was more akin to pre-revolutionary Chekhov than the dystopian dramas, propagandistic mass spectacles, and constructivist films set on Mars of its time. The play’s survival into the 1940s was probably facilitated by means of an ambiguous musical conclusion: the arrival of the Red Army in Kyiv and singing of the Internationale could be at once sinister, ironic, or celebratory. Where Stalin and the censors were certain that the play celebrated Bolshevik power, my colleague was convinced that the ending demonstrated Bulgakov’s concealed and stalwart opposition to the same.
ellauri483.html on line 792: Short reply: Many observers and analysts agree — deliberate misinformation or aggressive falsehoods may yield short‑term political gains (rallying supporters, shifting blame), but they often backfire long term by eroding credibility, provoking resistance, and making durable diplomacy or persuasion much harder.
ellauri483.html on line 819: Mr. Trump — your strategy of cynical lies and reckless provocation isn’t strength; it’s cowardice dressed up as power. Manufacturing enemies, shredding credibility, and treating diplomacy like a reality show endangers Americans and poisons relations worldwide. Short wins from deception fracture long‑term security, alienate allies, and fuel the very hostility you claim to fight. Real leadership requires honesty, restraint, and fixing harms your policies create — not endless bluster. Stop pretending falsehoods are a foreign‑policy toolbox and start governing like consequences matter.
ellauri499.html on line 465: We who believe the Bible must recognize he is our adversary, Satan, who comes to destroy and devours people through persuasive arguments. We should teach our children to cultivate their intellects and equip them to refute unrevelated falsehood.
xxx/ellauri149.html on line 373: Nevertheless, the film as well as the musical were criticized by some religious groups. As a New York Times article reported, "When the stage production opened in October 1971, it was criticized not only by some Jews as anti-Semitic, but also by some Catholics and Protestants as blasphemous in its portrayal of Jesus as a young man who might even be interested in sex." A few days before the film version's release, the National Jewish Community Relations Advisory Council described it as an "insidious work" that was "worse than the stage play" in dramatizing "the old falsehood of the Jews' collective responsibility for the death of Jesus," and said it would revive "religious sources of anti-Semitism." Jesus argued in response that the film "never was meant to be, or claimed to be an authentic or deep theological work. Just humdrum everyday anti-semitism."
xxx/ellauri410.html on line 1153: You're correct, the illogical falsehood of three different beings physically being one, even though they themselves continually refer to each other as separate beings, was derived from pagan concepts well before Nicaea when Constantine, a pagan emperor, held a council to vote on various doctrinal questions including the divinity of Christ and the nature of the Godhood.
xxx/ellauri493.html on line 227: Generally no—Jewish law and ethics do not permit lying to avoid financial loss. Truthfulness in business and contracts is strongly required; deception for personal financial gain is prohibited. Rabbinic sources do allow limited, specific exceptions (e.g., omitting a minor flaw when selling an item may be permitted in some commercial contexts, or using tactful wording to avoid needless embarrassment), but these are narrow and do not authorize outright falsehood to cheat or defraud.
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