ellauri026.html on line 225: The idea is there, but all the lingering emphasis in the original has been smoothed away. This, too, unfortunately, is typical of the whole. I have said that Wilson’s translation reads easily, and it does, like a modern novel: at shockingly few points does one ever need to stop and think. There are no hard parts; no difficult lines or obscure notions; no aesthetic arrest either; very little that jumps out as unusual or different. Wilson has set out, as she openly confesses, to produce an Odyssey in a “contemporary anglophone speech,” and this results in quite a bit of conceptual pruning. If you wait for the “Homeric tags,” the phrases that contained so much Greek culture they have been quoted over and over again by Greeks ever since—well, you are apt to miss them as they go by. A famous one occurs in book 24, when Odysseus and Telemachus are about to go into battle together: Odysseus tells Telemachus not to disgrace him, and Telemachus boasts that he need not fear. Laertes, Odysseus’s father, exclaims (Wilson’s translation), “Ah, gods! A happy day for me! My son and grandson are arguing about how tough they are!”
ellauri063.html on line 220: Lingchi (Chinese: 凌遲), translated variously as the slow process, the lingering death, or slow slicing, and also known as death by a thousand cuts, was a form of torture and execution used in China from roughly 900 until it was banned in 1905. It was also used in Vietnam. In this form of execution, a knife was used to methodically remove portions of the body over an extended period of time, eventually resulting in death.
ellauri160.html on line 800: After watching the famous movie, one lingering question hit my brain: why did this film never take off in England or the States the same way it had elsewhere? Although its absurdist humor and physical comedy seem tailor-made for the Monty Python set, Dinner for One has spent much of its life as an obscure oddball among most native English speakers.
ellauri197.html on line 295: The shift in verb tenses is remarkable in this first stanza to address the narrator’s unclear thoughts that are connected to whatever memory she wishes to “forget.” Within the first two lines of ‘How Happy I Was If I Could Forget’, the reader encounters past tense in “was” and the subjunctive imagined prospect of “if I could forget.” This “if” indicates that this is only a wish the narrator has, meaning it is not past, present, or future because it has not happened and will not definitively ever happen. From there, the narrator turns to the present tense by saying, “how sad I am.” There is no clear way that all of these verb tenses senspibly link up, and this grammatic confusion mirrors how uncertain and shaken the narrator is from this memory’s lingering presence.
ellauri247.html on line 271: If you chide them for lingering, they will contrive to delay you the longer. If you chastise them with sword, cane, cudgel, or horsewhip, they will either disappear entirely, and leave you without resource, or they will find means to take vengeance by overturning your carriage. The only course remaining would be to allow oneself to become the dupe of imposition by tipping the beggar an amount slightly in excess of the authorized gratification. The disadvantage under which the novelist was continually labouring was that of trying to travel as an English Milord, en grand seigneur, and yet having at every point to do it "on the cheap." He was a genuine Scrooge McDuck without the fake beak. He would rather give away a crown than be cheated of a farthing.
ellauri257.html on line 522: Sadly, nothing in Alma’s narrative hints at the emotional turmoil Singer left in his wake, although in the 1970s she told Kresh that abandoning the Wasserman family left such a sour taste in her mouth that she convinced herself it was better to stay forever with Singer despite his infidelities than to cause another emotional uproar. By most accounts, the lingering effects of her divorce made for bad blood toward Singer among Alma’s children and their extended family.
ellauri362.html on line 745: Eventually, sleep intervenes, bringing a temporary respite from the madness. Intoxication fades, and reason gradually returns, but the lingering effects of alcohol continue to haunt the individuals involved. Some remain under its sway, unable to break free from its grip.
xxx/ellauri103.html on line 311: My mother’s eyes bore into me, urging me to remain calm, to follow social convention. I shook my head, as if to shake off my lingering doubts.
xxx/ellauri149.html on line 454: It starts with Judas singing "Heaven on their Minds" to a sleeping Jesus with lots of longing looks and lingering touches.
xxx/ellauri186.html on line 262: Jean Stafford (July 1, 1915 – March 26, 1979) was an American short story writer and novelist. She was born in Covina, California, to Mary Ethel (McKillop) and John Richard Stafford, a Western pulp writer. She won the Pulitzer Prize for Fiction for The Collected Stories of Jean Stafford in 1970. Stafford's personal life was often marked by unhappiness. She was married three times. Her first marriage, to the brilliant but mentally unstable poet Robert Lowell, left her with lingering physical and emotional scars. Stafford enjoyed a brief period of domestic happiness with her third husband, A. J. Liebling, a prominent (but ugly) writer for The New Yorker. After his death in 1963, she stopped writing fiction. For many years Stafford suffered from alcoholism, depression, and pulmonary disease.
10