Yeats and Eliot were not familiars; they met occasionally and agreeably from as early as 1915—at least once at a meeting of the Omega Club, and again when they lunched at the Savile.
ellauri060.html on line 949: MeWe was founded by entrepreneur and privacy advocate Mark Weinstein, a cheerful, loquacious man and a self-satisfied libertarian. He’s friendly and open, with a horse voice that occasionally crackles with emotion, and he’s also prone to the occasional fit of bombast: “I’m one of the guys who invented gunpowder,” he cheerfully tells me at the start of our conversation.
ellauri061.html on line 782: Balrogs are tall and menacing beings who can shroud themselves in fire, darkness, and shadow. They are armed with fiery whips "of many thongs", and occasionally used long swords. In Tolkien's later conception, they could not be readily vanquished—a certain status was required by the would-be hero. Only dragons rivalled their capacity for ferocity and destruction, and during the First Age of Middle-earth, they were among the most feared of Morgoth's forces.
ellauri065.html on line 482: "Captain" Virgulino Ferreira da Silva (Brazilian Portuguese: [viʁɡulĩnu feˈʁejɾɐ da ˈsiwvɐ]), better known as Lampião (older spelling: Lampeão, Portuguese pronunciation: [lɐ̃piˈɐ̃w], meaning "lantern" or "oil lamp"), was probably the twentieth century's most successful traditional bandit leader. The banditry endemic to the Brazilian Northeast was called Cangaço. Cangaço had origins in the late 19th century but was particularly prevalent in the 1920s and 1930s. Lampião led a band of up to 100 cangaceiros, who occasionally took over small towns and who fought a number of successful actions against paramilitary police when heavily outnumbered. Lampião's exploits and reputation turned him into a folk hero, the Brazilian equivalent of Jesse James or Pancho Villa.
ellauri067.html on line 336: Some prominent guest stars on Allen´s program over the years included Frank Sinatra, Orson Welles, Roy Rogers, Bela Lugosi, Ed Gardner, Norman Corwin and Edgar Bergen & Charlie McCarthy. Allen would often ad-lib material and since most radio programs in those days were broadcast live, with the exception of the occasional delay here and there, the audience would sometimes hear a bleep in place of a word or phrase. Siitäkin on tullut mediaklishee.
ellauri079.html on line 147: For this reason, there have been occasional ad hoc movements to rename the town. Suggested new names have included "Emily", after Emily Dickinson.
ellauri093.html on line 182: Wingate was known for various eccentricities. For instance, he often wore an alarm clock around his wrist, which would go off at times, and had raw onions and garlic on a string around his neck, which he would occasionally bite into as a snack (the reason he used to give for this was to ward off mosquitoes). He often went about without clothing. In Palestine, recruits were used to having him come out of the shower to give them orders, wearing nothing but a shower cap, and continuing to scrub himself with a shower brush. Sometimes Wingate would eat only grapes and onions.
ellauri099.html on line 172: We are less attracted to the idea of the wealthy aristocratic philosopher sequestered in his research facility and making occasional overseas trips to visit foreign tyrants than the image of the poor, shoeless Socrates causing trouble in the marketplace, refusing to be paid and getting killed by the city for his trouble. But our captivation with this image, once again, is overwhelmingly fatass Plato’s clever branding.
ellauri099.html on line 178: The Academy complex is approximately 130 feet square. It has the typical dimensions of a palaestra, or wrestling school. In my mind’s eye, I saw an elderly Plato sitting watching his academicians wrestle, occasionally offering coaching advice and encouragement.
ellauri100.html on line 654: But occasionally, let it get clotted Mut saa se joskus klottaantua
ellauri101.html on line 161: Joo Moaning Myrtle oli "a ghost who haunted the second-floor girls' bathroom (and occasionally other bathroom facilities) at Hogwarts." Tyypillinen myrtleismi:
ellauri102.html on line 566: In her spare time she leads laughter yoga classes and occasionally acts as a “superhero-make-over consultant”.
ellauri109.html on line 666: On 1 December 1663 Dryden married the royalist sister of Sir Robert Howard—Lady Elizabeth. Dryden's works occasionally contain outbursts against the married state but also celebrations of the same. Little is known of the intimate side of his marriage. Lady Elizabeth bore three sons and outlived her husband. Se sai sitten luritella tota abit onusta, kun anus-Jussi kuoli ensinnä.
ellauri109.html on line 809: In many cases the parents believe their children were really kidnapped and given or sold to families of European Jews - occasionally Holocaust survivors who had lost their children - or Americans.
ellauri131.html on line 906: Hay described how in 1977 or 1978 she was diagnosed with "incurable" cervical cancer, and how she came to the conclusion that by holding on to her resentment for her childhood abuse and rape she had contributed to its onset. She reported how she had refused conventional medical treatment, and began a regime of forgiveness, coupled with therapy, nutrition, reflexology, and occasional colonic enemas. She claimed in the interview that she rid herself of the cancer by this method, but, while swearing to its truth, admitted that she had outlived every doctor who could confirm this story.
ellauri141.html on line 111: At his house, probably, Horace became intimate with Polio, and the many persons of consideration whose friendship he appears to have enjoyed. Through Mæcenas, also, it is probable Horace was introduced to Augustus; but when that happened is uncertain. In B. C. 37, Mæcenas was deputed by Augustus to meet M. Antonius at Brundisium, and he took Horace with him on that journey, of which a detailed account is given in the fifth Satire of the first book. Horace appears to have parted from the rest of the company at Brundisium, and perhaps returned to Rome by Tarentum and Venusia. (See S. i. 5, Introduction.) Between this journey and B. C. 32, Horace received from his friend the present of a small estate in the valley of the Digentia (Licenza), situated about thirty-four miles from Rome, and fourteen from Tibur, in the Sabine country. Of this property he gives a description in his Epistle to Quintius (i. 16), and he appears to have lived there a part of every year, and to have been fond of the place, which was very quiet and retired, being four miles from the nearest town, Varia (Vico Varo), a municipium perhaps, but not a place of any importance. During this interval he continued to write Satires and Epodes, but also, it appears probable, some of the Odes, which some years later he published, and others which he did not publish. These compositions, no doubt, were seen by his friends, and were pretty well known before any of them were collected for publication. The first book of the Satires was published probably in B. C. 35, the Epodes in B. C. 30, and the second book of Satires in the following year, when Horace was about thirty-five years old. When Augustus returned from Asia, in B. C. 29, and closed the gates of Janus, being the acknowledged head of the republic, Horace appeared among his most hearty adherents. He wrote on this occasion one of his best Odes (i. 2), and employed his pen in forwarding those reforms which it was the first object of Augustus to effect. (See Introduction to C. ii. 15.) His most striking Odes appear, for the most part, to have been written after the establishment of peace. Some may have been written before, and probably were. But for some reason it would seem that he gave himself more to lyric poetry after his thirty-fifth year than he had done before. He had most likely studied the Greek poets while he was at Athens, and some of his imitations may have been written early. If so, they were most probably improved and polished, from time to time, (for he must have had them by him, known perhaps only to a few friends, for many years,) till they became the graceful specimens of artificial composition that they are. Horace continued to employ himself in this kind of writing (on a variety of subjects, convivial, amatory, political, moral,—some original, many no doubt suggested by Greek poems) till B. C. 24, when there are reasons for thinking the first three books of the Odes were published. During this period, Horace appears to have passed his time at Rome, among the most distinguished men of the day, or at his house in the country, paying occasional visits to Tibur, Præneste, and Baiæ, with indifferent health, which required change of air. About the year B. C. 26 he was nearly killed by the falling of a tree, on his own estate, which accident he has recorded in one of his Odes (ii. 13), and occasionally refers to; once in the same stanza with a storm in which he was nearly lost off Cape Palinurus, on the western coast of Italy. When this happened, nobody knows. After the publication of the three books of Odes, Horace seems to have ceased from that style of writing, or nearly so; and the only other compositions we know of his having produced in the next few years are metrical Epistles to different friends, of which he published a volume probably in B. C. 20 or 19. He seems to have taken up the study of the Greek philosophical writers, and to have become a good deal interested in them, and also to have been a little tired of the world, and disgusted with the jealousies his reputation created. His health did not improve as he grew older, and he put himself under the care of Antonius Musa, the emperor’s new physician. By his advice he gave up, for a time at least, his favorite Baiæ. But he found it necessary to be a good deal away from Rome, especially in the autumn and winter.
ellauri150.html on line 471: Karl Tunberg (March 11, 1907 − April 3, 1992) was an American screenwriter and occasional film producer. His screenplays for Tall, Dark and Handsome (1941) and Ben-Hur (1959) were nominated for the Academy Award for Best Original Screenplay and Best Adapted Screenplay, respectively. more…
ellauri160.html on line 204: His obituary in The Times described it as not a great poem, because of the lack of structure, but a great improvisation: "The exasperating form permits the occasional, and in the early Cantos and in The Pisan Cantos not so occasional, irruption of passages of great poetry, hot and burning lava breaking through the cracks in piles of boring scree."
ellauri161.html on line 597: Speaking of “climate,” that’s the main target here – how people are too stupid to come together even when their survival depends on it. Or maybe it’s the pandemic McKay is allegorizing. Probably both. Meanwhile, the writer/director’s left-of-center politics are on full display. Although Don’t Look Up occasionally ridicules the left, it represents a full-on fusillade against the right. Now that is NOT funny.
ellauri164.html on line 552: Two lessons: 1. The failings of good men may be culpable in God's sight and displeasing to him out of all proportion to the degree of blameworthiness they present to our eye. So far is it from being true (as many seem to think) that believers' sins are no sins at all, and need give no concern, that, on the contrary, the Lord dislikes the stain of sin most when it is seen in his dear children. The case of Moses is not singular. Sins which the Lord overlooks in other men he will occasionally put some mark of special displeasure upon, when they are committed by one who is eminent for holiness and honourable service. It is, no doubt, a just instinct which leads all right-thinking people to be blind to the failings of good men who have been signally useful in their day. But if the good men become indulgent to their own faults they are likely to be rudely awakened to a sense of their error. The better a man is, his sins may be the more dishonouring to God. A spot hardly visible on the coat of a labouring man, may be glaringly offensive on the shining raiment of a throned king.
ellauri183.html on line 262: Despite Malamud's shadings with rabbinical law, then, this is a familiar hopeless-Utopia blueprint. Moreover, the restless treatment here—part downbeat-comic, part liturgical-lyric—never endows the tale with the sort of Biblical fervor which heightens the best of Doris Lessing´s fables. And the result is a disappointing, predictable parable—intentionally funny at times but unintentionally funny too, hollow in most of its lyrical moments, and only occasionally provocative in its eclectic philosophizing.
ellauri184.html on line 277: There were also royal forces that did not directly serve Wome, but were under the authority of a client king. The periphery of the Woman Empire was peppered with kingdoms allied with Wome that maintained their own militawies independent of the Empire proper (e.g., Herod the Great’s Judaea, Antipas’ Galilee, Cleopatra’s Egypt). These armies differed from kingdom to kingdom with respect to their hierarchies, pay scale, wecwuitment strategies, and so on. Wome occasionally expected kings to contribute soldiers to militawy campaigns as part of their reciprocal loyalty. Because kings could not offer their veterans Woman citizenship, the matter was irrelevant. With little invested in Womanness, royal soldiers spoke the local lingua franca and rarely had knowledge of Latin or other aspects of Woman culture.
ellauri185.html on line 842: The House of Habsburg was known for its intermarriages; the Habsburg lip often cited as an ill-effect. The closely related houses of Habsburg, Bourbon, Braganza and Wittelsbach (Was?! das ist unser Haus! Ach nein!) also frequently engaged in first-cousin unions as well as the occasional double-cousin and uncle–niece marriages.
ellauri198.html on line 136: Warren’s poetry is written “in a genuinely expansive, passionate style. Look at its prose ease and rapidity oddly qualified by log-piling compounds, alliteration, successive stresses, and an occasional inversion something rough and serviceable as a horse-blanket yet fancy to—and you wonder how he ever came up with it. It is excitingly massive and moulded and full of momentum. Echoes of Yeats and Auden still persist, but it is wonderfully peculiar, homemade.” His language is robust and rhetorical. He likes his adjectives and nouns to go in pairs, reinforcing one another.
ellauri210.html on line 1316: The narrator, randomly named André, ruminates on a number of Surrealist principles, before ultimately commencing (around a third of the way through the novel) on a narrative account, generally linear, of his brief ten-day affair with the titular character Nadja. She is so named “because in Russian it's the beginning of the word hope, and because it's only the beginning,” but her name might also evoke the Spanish "Nadie," which means "No one." The narrator becomes obsessed with this woman with whom he, upon a chance encounter while walking through the street, strikes up conversation immediately. He becomes reliant on daily rendezvous, occasionally culminating in romance (a kiss here and there). His true fascination with Nadja, however, is her vision of the world, which is often provoked through a discussion of the work of a number of Surrealist artists, including himself. While her understanding of existence subverts the rigidly authoritarian quotidian, it is later discovered that she is mad and belongs in a sanitarium. After Nadja reveals too many details of her past life, she in a sense becomes demystified, and the narrator realizes that he cannot continue their relationship.
ellauri238.html on line 863: According to Alter, Amichai’s early work bears a resemblance to the poetry of Thomas and Auden. “[Rainer Maria] Rilke,” wrote Alter, “is another informing presence for him, occasionally in matters of style—he has written vaguely Rilkesque elegies—but perhaps more as a model for using a language of here and now as an instrument to catch the glimmerings of a metaphysical beyond.” Kuulostaa pahalta.
ellauri243.html on line 202: It is often used in the United States as a symbol for right-libertarianism, classical liberalism, and small government; for distrust or defiance against authorities and government; and occasionally co-opted for right-wing populism or far-right ideology. In the mid-1970s, the New Left People's Bicentennial Commission used the Gadsden Flag symbolism on buttons and literature.
ellauri262.html on line 161: Lewis occasionally expressed a somewhat tongue-in-cheek chauvinism towards women.
ellauri342.html on line 329: