ellauri014.html on line 89: Pamela; or, Virtue Rewarded is an epistolary novel by English writer Samuel Richardson, a novel which was first published in 1740. It tells the story of a 16-year-old maidservant named Pamela Andrews, whose employer, Mr. B, a wealthy landowner, makes unwanted and inappropriate advances towards her after the death of his mother. Pamela strives to reconcile her strong religious training with her desire for the approval of her employer in a series of letters and, later, journal entries, addressed to her impoverished parents. After various unsuccessful attempts at seduction, a series of sexual assaults, and an extended period of kidnapping, the rakish Mr. B eventually reforms and makes Pamela a sincere proposal of marriage. In the novel's second part, Pamela marries Mr. B and tries to acclimatize to her new position in upper-class society. The full title, Pamela; or, Virtue Rewarded, makes plain Richardson's moral purpose. A best-seller of its time, Pamela was widely read but was also criticized for its perceived licentiousness and disregard for class barriers.
ellauri022.html on line 382: And forty-two old maids.
ellauri037.html on line 283: old maids married off to worthy parsons,
ellauri038.html on line 48: "If seven maids with seven mops
ellauri066.html on line 254: The handmaids' uniforms and face-hiding headdresses came from the Old Dutch Cleanser package of the 1940s, which frightened Peg as a child.
ellauri066.html on line 256: "The show uses the biblical story of Rachel, the wife of Jacob, who gave him her maid to lay with and impregnate; Rachel would then raise the child as her own. In this show the fertile handmaids perform the same function as Rachel's handmaid, and the commanders' infertile wives perform the same function as Rachel did.
ellauri095.html on line 455: Their rivalry began with Hopkins’s response to her poem “The Convent Threshold.” Geoffrey Hartman was clearly on the right track when he suggested in the introduction to Hopkins: A Collection of Critical Essays (1966) that “Hopkins seems to develop his lyric structures out of the Pre-Raphaelite dream vision. In his early ‘A Vision of the Mermaids’; and ‘St. Dorothea’; he may be struggling with such poems as Christina Rossetti’s ‘Convent Threshold’; and Dante Gabriel Rossetti’s ‘The Blessed Damozel,’ poems in which the poet stands at a lower level than the vision, or is irrevocably, pathetically distanced.” Such poems were the essence of medievalism in poetry according to William Morris, who felt that Keats’s “La Belle Dame Sans Merci” was the germ from which all Pre-Raphaelite poetry sprang. Standing beyond Keats, however, the primary source was Dante. Christina Rossetti clearly alludes to Beatrice’s appeal to Dante in “The Convent Threshold”:
ellauri118.html on line 974: On the show, the Handmaids have "red tag" trackers attached to their ear. In the book, they have tattooed numbers like Sammeli.
ellauri118.html on line 1010: The second Particicution, when the Handmaids are asked to kill Janine, doesn't happen in the book.
ellauri118.html on line 1146: Besides a disproportionate number of blacks, the show has another representational problem: a notable absence of fat women among the handmaids.
ellauri147.html on line 221: She sees Pierre at the ballet so she walks into his private box to talk to him so he will remain with Savior. Camille invites Emily to lunch and asks if Savior could take on her family's champagne vineyard as a client. Mindy's friend and her five bridesmaids are in Paris for weird dress shopping. Camille invites Emily to meet her family at their chateau.
ellauri171.html on line 454:
ellauri171.html on line 471: We forgot to mention that Jezebel was the New Testament's N:o 2 whore after Magdalen. In Revelation 2 Jesus Christ rebukes the church of Thyatira saying, “You allow that woman Jezebel, who calls herself a prophetess, to teach and seduce My servants to commit sexual immorality and eat things sacrificed to idols”. Christ also says of this Jezebel, “I gave her time to repent of her sexual immorality, and she did not repent. I will kill her children with death.” Battle of the sexes. In Handmaid's Tale, a Jezebel is a woman forced to become prostitute and entertainer. They are available only to the Commanders and to their guests. Offred portrays Jezebels as attractive and educated; they may be unsuitable as handmaids due to temperament. They have been sterilized, a surgery that is forbidden to other women. They operate in unofficial but state-sanctioned brothels, unknown to most women. Jezebels, whose title also comes from the Bible (note Queen Jezebel in the Books of Kings), dress in the remnants of sexualized costumes from "the time before", such as cheerleaders' costumes, school uniforms, and Playboy Bunny costumes. Jezebels can wear make-up, drink alcohol, and socialize with men, but are tightly controlled by the Aunts. When they pass their sexual prime and/or their looks fade, they are discarded, without any precision as to whether they are killed or sent to "the Colonies" (XII Jezebels).
ellauri276.html on line 576: Pretty maids don't think amiss a ploughman for to kiss, Kauniit piiat eivät usko, että kyntäjä suutelee
ellauri409.html on line 467: The problem seems to be again that he fails to score with juicy mermaids, like Henri Amiel.
xxx/ellauri076.html on line 678: Roger Vadim Plemiannikov (26. tammikuuta 1928 – 11. helmikuuta 2000) oli ranskalainen satunnainen kyrvän käyttelijä. Hänen tunnetuimpia teoksiaan ovat visuaalisesti ylelliset eroottisia ominaisuuksia sisältävät elokuvat, kuten And God loi naisen ja All handmaids in a row.
xxx/ellauri127.html on line 709: Endymion tarkottanee puolisukeltajaa. Kuuhullu astronomi tai sit paimen vaan. Astronomi mainitaan merenneitopätkässsä. Octopussy's garden in the waves. The 4th century Babylonian god of the sea was known as Oannes who was portrayed as a man with a fish tail in place of legs. Oannes would appear out of the ocean every day as a fish-human creature to share his wisdom with the people along the Persian Gulf, then return to the sea at night. There was also Atargatis, a Syrian moon and sea goddess, her story tells us that after causing the death of her mortal lover she fled to the sea and took the form of a woman above the waist and a fish below, for this reason she became known as a mermaid goddess. During medieval times mermaids were considered as matter-of-factly alongside other aquatic animals, such as whales and dolphins. The goddess Venus is sometimes depicted as a mermaid, being born from a giant clam shell.
xxx/ellauri179.html on line 961: Tho’ I walks with fifty ’ousemaids outer Chelsea to the Strand, vaikka 50 piikaa saisin Chelseasta aina joen rannalle,
xxx/ellauri199.html on line 125: called for sweet Salacia and nine mermaids fair
xxx/ellauri251.html on line 175: And one, the maiden rose of all thy maids, Ja 1:n sun neitosista, neitomaisen ruusun,
xxx/ellauri251.html on line 1227: On earth of all maids worshipped—hail, and hear,
xxx/ellauri394.html on line 138: From 1860 to 1862, Liliʻuokalani and Dominis were engaged with the wedding set on her twenty-fourth birthday. This was postponed to September 16, 1862, out of respect for the death of Prince Albert Kamehameha, son of Kamehameha IV and Queen Emma. The wedding was held at Haleʻākala, the residence of the Bishops. The ceremony was officiated by Reverend Samuel Chenery Damon in the Anglican rites. Her bridemaids were her former classmates Elizabeth Kekaʻaniau and Martha Swinton. King Kamehameha IV and other members of the royal family were honored guests. The couple moved into the Dominises' residence, Washington Place in Honolulu. Through his wife and connections with the king, Dominis would later become Governor of Oʻahu and Maui. The union was reportedly an unhappy one with much gossip about Dominis' infidelities and domestic strife between Liliʻuokalani and Dominis' mother Mary who disapproved of the marriage of her son with a negro. They never had any children of their own, but, against the wish of her husband and brother, Liliʻuokalani adopted three hānai children: Lydia Kaʻonohiponiponiokalani Aholo, the daughter of a family friend; Joseph Kaiponohea ʻAeʻa, the son of a retainer; and John ʻAimoku Dominis, her husband's son.
xxx/ellauri415.html on line 395: Those parts which maids keep unespied, Niihin osiin, joita piiat pitävät salassa,
23