ellauri095.html on line 182: The language of Hopkins´s poems is often striking. His imagery can be simple, as in Heaven-Haven, where the comparison is between a nun entering a convent and a ship entering a harbour out of a storm. It can be splendidly metaphysical and intricate, as it is in As Kingfishers Catch Fire, where he leaps from one image to another to show how each thing expresses its own uniqueness, and how divinity reflects itself through all of them.
ellauri097.html on line 744: A leaping tongue of bloom the scythe had spared pystyssä huojuvana kalpeana viikatteelta turvassa
ellauri098.html on line 533: ISFJs are caring and helpful. They are devoted to protecting and helping out those in need. ISFJs have very strong family ties and are quick to leap to the defense of their family. Sometimes, however, take on too much responsibility and lose sight of the big picture while trying to help everyone around them. They can also be too unassertive and pushovers for those who want to take advantage of their helpfulness. But there is no friend to have like an ISFJ when you find yourself in need of help.
ellauri100.html on line 919: Laura most like a leaping flame.
ellauri100.html on line 1042: Flying, running, leaping,
ellauri100.html on line 1213: Writhing as one possess’d she leap’d and sung,
ellauri159.html on line 1281: You like complex, theoretical subjects, and you use your wide vocabulary in your writing. To enhance readability, choose the simplest word that communicates an idea accurately. You may sometimes make intuitive leaps that are unclear to your audience. Illustrate connections even if they seem obvious to you. To ensure that your message is clear, ask for feedback from someone you trust.
ellauri160.html on line 639: In another story from the Zohar, Naamah and Lilith are said to have corrupted the angels Ouza and Azazel. The text states she also attracts demons, as she is continuously chased by demon kings Afrira and Qastimon every night, but she leaps away every time and takes multiple forms to entice men.
ellauri171.html on line 608: The lesson is: think before you act. Ask yourself: what are the long-term consequences of your actions? Tää on kuin Johnin amerikkalaisesta lastenkirjasta: look before you leap. Pikku hiirulainen mietti tätä eikä mennyt naimisiin kuin vasta toisen hiiren kanssa.
ellauri222.html on line 791: Because Bellow refuses to devalue human potential in even his bleakest scenarios, his novels often come under attack for their affirmative endings. Augie hails himself as a new Columbus, the rediscoverer of America; Henderson, while triumphantly returning home with his new charges, dances with glee, "leaping, leaping, pounding, and tingling over the pure white lining of the grey Arctic silence." Herzog inexplicably evades his fate, emerging from the flux of his tortured mind to reclaim his sanity and his confidence in the future. Yet, the victories of Bellow's heroes are not unqualified, but rather as ambiguous and tenuous as is the human condition itself. As a new Columbus, Augie speaks from exile in Europe; in holding the orphan child, Henderson recalls the pain of his separation from his own father; by renouncing his self-pity and his murderous rage at his ex-wife Madeleine, Herzog reduces but does not expiate his guilt. Nonetheless, these characters earn whatever spiritual victory they reap through their penes and their refusal to succumb to doubt and cynicism. Through their perseverance in seeking the truth of human existence, they ultimately renew themselves by transcending to an intuitive spiritual awareness that is no less real because it must be taken on faith.
ellauri247.html on line 108: Big fires were lit on the edge of the scrub, throwing light on the dancers as they came dancing out from their camps, painted in all manner of designs, waywahs round their waists, tufts of feathers in their hair, and carrying in their hands painted wands. Heading the procession as the men filed out from the scrub into a cleared space in front of the women, came Narahdarn. The light of the fires lit up the tree tops, the dark balahs showed out in fantastic shapes, and weird indeed was the scene as slowly the men danced round; louder clicked the boomerangs and louder grew the chanting of the women; higher were the fires piled, until the flames shot their coloured tongues round the trunks of the trees and high into the air. One fire was bigger than all, and towards it the dancers edged Narahdarn; then the voice of the mother of the Bilbers shrieked in the chanting, high above that of the other women. As Narahdarn turned from the fire to dance back he found a wall of men confronting him. These quickly seized him and hurled him into the madly-leaping fire before him, where he perished in the flames. And so were the Bilbers avenged. Good work, bare-butt boys, and good riddance for the bad rubbish.
ellauri321.html on line 220: Set in the year before the Wall Street crash, Juan in America is a classic evocation of the final mania of prohibition, as seen through equally maniacal British eyes. The character Eric Linklater devised to be his unreliable explorer was one capable of absorbing the enormity of the American experience without being overwhelmed by its incongruities. A blithe, bastard descendent of Byron(tm)s Don Juan, Linklater´s Juan is an anti-hero with a taste for the grotesque and the ridiculous, at once both dirty and deity whose response when faced either with sudden catastrophe or miraculous survival is simply to laugh. A novel in the mode of the picaresque, this is a story of erotic discovery in the sense, as Juan puts it, that, eh, your trousers hide not only your willy but your kinship to the clown. A nation emerging as a great power is exalting in absurdist energies. In its last spasms before the great depression, America is revealed through a series of unlikely accidents as Juan stumbles from state to state, somehow evading consequences as he goes. On his first day, he falls for the daughter of a gangster, witnesses a murder in a speakeasy and watches a woman leap to her death in a New York street. He thrills to the bizarreness of each spectacle and moves on to the next in a galloping mood that is part medieval romance, part running commentary on what was still, in the 1920s, the new world.
ellauri323.html on line 160: Suomalaiset ovat täys moukkia. Ne juovat vaaleapaahtoista kahvia 4 kuppia päivässä. Nyt (niin, nyt, 30 vuotta jälkijunassa) ne ovat innostuneet diikäffistä. Suomessa ryssävihan laineet hyökyvät taas korkealla, niitä nostattaa likavesiammeessaan pyllyröilevä talousliberaali valtameedia.
ellauri342.html on line 205: Kun Vedene ilmestyi kokoonpanon keskelle, hänen laakerinsa ja komea ulkonäkö sai aikaan melkoisen hyväksynnän murinan. Hän oli upea Provencesta kotoisin oleva mies, vaaleapäästä kiharat hiukset ja pieni ohut parta, joka olisi voitu tehdä siitä hienoja metallilastuja, jotka ovat pudonneet hänen kultaseppäisänsä taltasta. Huhu onko kuningatar Jeannen sormet joskus leikkinyt sillä vaalea parta. Vedenen majesteettiudella oli todellakin loistava puoli; hänellä oli kuningattareiden rakastamien miesten turha, hajamielinen katse. Siinä päivänä, kohteliaisuutena kotimaataan kohtaan, hän oli vaihtanut omansa Napolilaiset vaatteet vaaleanpunaiseen, punottuun takkiin Provencen tyyliin, ja Camarguen valtava ibis-pilvi leimahti hänen hupussaan.
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ellauri382.html on line 321: With the help of three other men, including two to give him a boost and one to stand as a lookout, the young man leaped over the barrier and ran further into American territory.
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ellauri408.html on line 442: Once you are able to admit that the Bible’s satanic commandments were authored by evil idiots, it’s not a great leap to figure out that others were authored by blatant liars.
xxx/ellauri113.html on line 93: The Principle of Reason, the text of an important and influential lecture course that Martin Heidegger gave in 1955-56, takes as its focal point Leibniz's principle: nothing is without reason. Heidegger shows here that the principle of reason is in fact a principle of being. Much of his discussion is aimed at bringing his readers to the "leap of thinking," which enables them to grasp the principle of reason as a principle of being. This text presents Heidegger's most extensive reflection on the notion of history and its essence, the Geschick of being, which is considered on of the most important developments in Heidegger's later thought. One of Heidegger's most artfully composed texts, it also contains important discussions of language, translation, reason, objectivity, and technology as well as remarkable readings of Leibniz, Kant, Aristotle, and Goethe, among others. And lots of black-and-white pictures of scantily dressed women.
xxx/ellauri127.html on line 743: Endymion received scathing criticism after its release, and Keats himself noted its diffuse and unappealing style. Keats did not regret writing it, as he likened the process to leaping into the ocean to become more acquainted with his surroundings; in a poem to J. A. Hessey, he expressed that "I was never afraid of failure; for I would sooner fail than not be among the greatest." However, he did feel regret in its publishing, saying "it is not without a feeling of regret that I make it public." Not all critics disliked the work. eg. the poet Thomas Hood. Henry Morley said, "The song of Endymion throbs throughout with a noble poet's sense of all that his art means for him. What mechanical defects there are in it may even serve to quicken our sense of the youth and freshness of this voice of aspiration." Meaning: Dig it mon. Endymionin jälkeen Keaz kommentoi sen vastaanottoa seuraavasti.
xxx/ellauri170.html on line 58: My heart leaps up when I behold Mun sydän hypähtää kun näen
xxx/ellauri199.html on line 94: salacious (adj.) 1660s, "lustful, lecherous," from Latin salax (genitive salacis) "lustful," probably originally "fond of leaping," as in a male animal leaping on a female in sexual advances, from salire "to leap" (see salient (adj.)). It is attested earlier in the later-rare sense of "tending to provoke lust".
xxx/ellauri251.html on line 1414: Laugh, having eaten, and leap without a lyre,
xxx/ellauri251.html on line 2807: But the king twitched his reins in and leapt down
xxx/ellauri387.html on line 295: And the Babe leaps up on his Mother's arm:— Vauva pyrkii pystyyn mamman kädessä :-
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