ellauri014.html on line 285: EURO: Lets aan el largo mit meine pedalero gehen und las muettas op el cielo, las barquettas op el sea poeticamente regarde teine hande in meine hande tenante!

ellauri046.html on line 65: Sufficientemente colta nella letteratura, nell'arte e nella musica, Gaspara fu portata dalla forte carica della sua personalità a vivere in modo libero diverse esperienze amorose, che segnano profondamente la sua vita e la sua produzione poetica. I romantici videro in lei una novella Saffo, anche per la sua breve esistenza, vissuta in maniera intensamente passionale. La vicenda della poetessa va però ridimensionata e collocata nel quadro della vita mondana del tempo, dove le relazioni sociali, comprese quelle amorose, rispondono spesso a un cerimoniale e ad una serie di convenzioni precise. Fra queste è da segnalare l'amore per il conte Collaltino di Collalto, uomo di guerra e di lettere, che durò circa tre anni (1548-1551): tuttavia a causa di lunghi periodi di lontananza Collaltino non ricambiò il sentimento intenso che Gaspara provò per lui, e la relazione si concluse con l'abbandono della poetessa, che attraversò anche una profonda crisi spirituale e religiosa. Leimasimella oli taipumusta depixiin. Kun tuli vastoinkäymisiä (veli kuoli, kreivi jätti), se meni aina rapakuntoon ja meinas mennä nunnaxi. Onnexi ei mennyt.
ellauri054.html on line 213: Matthew Arnold (24. joulukuuta 1822 Laleham, Middlesex – 15. huhtikuuta 1888 Liverpool) oli englantilainen viktoriaanisen ajan runoilija sekä yhteiskunta- ja kirjallisuuskriitikko. Arnold työskenteli koulutarkastajana. Ei se kuitenkaan ollut pedantti. Hän oli kuuluisan Rugby Schoolin rehtorin Thomas Arnoldin poika ja vähemmän kuuluisien Tom Arnoldin ja William Delafield Arnoldin, romaanikirjailijan veli. Wordsworthin kamuja. A voice poking fun in wilderness. Oliko sekin puun takaa huutelija? Caricature from Punch, 1881: "Admit that Homer sometimes nods, That poets do write trash, Our Bard has written "Balder Dead," And also Balder-dash". Tennysonin ja Browningin jälkeen viktoriaanisten runoilijoiden twit-kisan pronssimies. "It might be fairly urged that I have less poetical sentiment than Tennyson and less intellectual vigour and abundance than Browning; yet because I have perhaps more of a fusion of the two than either of them, and have more regularly applied that fusion to the main line of modern development, I am likely enough to have my turn as they have had theirs." Arnold got into his poetry what Tennyson and Browning scarcely needed (but absorbed anyway), the main march of mind of his time.
ellauri061.html on line 211: James Halliwell-Phillipps, writing in the 1840s, found that there were many inconsistencies in the play, but considered it the most beautiful poetical drama ever written.
ellauri062.html on line 536: Salvatore Quasimodo (Modica, 20 agosto 1901 – Napoli, 14 giugno 1968) è stato un poeta e traduttore italiano, esponente di rilievo dell'ermetismo. Ha contribuito alla traduzione di vari componimenti dell'età classica, soprattutto liriche greche, ma anche di opere teatrali di Molière e William Shakespeare. È stato vincitore del premio Nobel per la letteratura nel 1959 «per la sua poetica lirica, che con ardente classicità esprime le tragiche esperienze della vita dei nostri tempi».
ellauri062.html on line 538: Ungaretti (1888-1970) oli Mussolinin kamu, liittoutuneiden kannalta housunsa paskantanut kaveri. Sixi Guasimodo vei sodan jälkeen pokaalin. Montale (1896-1981) pokkas omansa 1975 «per la sua poetica distinta che, con grande sensibilità artistica, ha interpretato i valori umani sotto il simbolo di una visione della vita priva di illusioni». Se oli antifasisti vaan koska se oli aristokraattinen snobi.
ellauri150.html on line 455: Quō vādis? (Classical Latin: [kʷoː ˈwaːdɪs], Ecclesiastical Latin: [kwo ˈvadis]) is a Latin phrase meaning "Where are you marching?". It is also commonly translated as "Where are you going?" or, poetically, "Whither goest thou?", or even "Whatsup doc? Munch munch"
ellauri151.html on line 156: The Cricket on the Hearth strikes a different note. Charmingly, poetically, the sweet chirping of the little cricket is associated with human feelings and actions.
ellauri198.html on line 849: His pose as “The Wild Old Wicked Man” (the title of one of his poems) and his poetical revitalization was reflected in the title of his 1938 volume New Poems.
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ellauri321.html on line 112: Here sorrow and desolation awaited him. His wife had died a few weeks before his arrival, his farm had been ravaged, his children were in the care of strangers. But as he had been appointed French Consul in New York with the especially expressed approbation of Washington, he remained in America six years longer, with only one brief interval spent in France. Notwithstanding the disastrous practical influence of his book, through which five hundred Norman families are said to have perished in the forests of Ohio, he was now an honored citizen in his adopted country, distinguished by Washington, and the friend of Franklin. In these later years he accompanied Franklin on various journeys, one of which is recorded in the “Voyage Dans La Haute Pennsylvanie.” In 1790 he returned to France, living now at Rouen, now at Sarcelles, where he died on November 12, 1813. He was a man of “serene temper and pure benevolence,” of good sense and sound judgment; something also of a dreamer, yet of a rhetorical rather than a poetical temperament; typically French, since there were in him no extremes of opinion or emotion. He followed the dictates of his reason tempered by the warmth of his heart, and treated life justly and sanely.
ellauri408.html on line 982: Posterius querebatur sibi immerito poeticam laurum , Africa inchoata? munus, contigisse sibique « nil scientiae, nil eloquentiae, invidiae autem infinitum attulisse.
xxx/ellauri086.html on line 890: "The Philosophy of Composition" is Edgar Allan Poe's theory about how good writers write when they write well. He concludes that length, "unity of effect" and a logical method are important considerations for good writing. He also makes the assertion that "the death... of a beautiful woman" is "unquestionably the most poetical topic in the world". Poe uses the composition of his own poem "The Raven" as an example. The essay first appeared in the April 1846 issue of Graham's Magazine. It is uncertain if it is an authentic portrayal of Poe's own method.
xxx/ellauri086.html on line 906: The essay states Poe's conviction that a work of fiction should be written only after the author has decided how it is to end and which emotional response, or "effect", he wishes to create, commonly known as the "unity of effect". Once this effect has been determined, the writer should decide all other matters pertaining to the composition of the work, including tone, theme, setting, characters, conflict, and plot. In this case, Poe logically decides on "the death... of a beautiful woman" as it "is unquestionably the most poetical topic in the world, and equally is it beyond doubt that the lips best suited for such topic are those of a bereaved lover." Some commentators have taken this to imply that pure poetry can only be attained by the eradication of female beauty. Biographers and critics have often suggested that Poe's obsession with this theme stems from the repeated loss of women throughout his life, including his mother Eliza Poe, his foster mother Frances Allan and, later, his wife Virginia.
xxx/ellauri157.html on line 259: Hasids are nature-lovers by nature. Rabbi Nachman of Breslav poetically depicts the spiritual lifeforce in the grasses of the field as joining and helping in one's prayers. Psychologically too, nature looks better with dogs and sheep in it. To a sensitised soul, even a tree can take on extra dimensions if it has a hole in it. The Kabbalists explain that one of the Hebrew names of God "Elo-h-im" is numerically equivalent in Gemara with "HaTeva" meaning "Nature").
xxx/ellauri167.html on line 52: Francesca è presentata come una donna colta, esperta di letteratura amorosa (cita indirettamente lo Stilnovo e Andrea Cappellano, quindi conosce i dettami dell'amor cortese). Attraverso il suo personaggio Dante compie una parziale ritrattazione della sua precedente produzione poetica (stilnovistica e, soprattutto, delle Petrose), che avendo l'amore come argomento poteva spingere il lettore a mettere in pratica gli esempi letterari e cadere nel peccato di lussuria. Francesca è il primo dannato che pronuncia un discorso nell'Inferno dantesco, mentre Guido Guinizelli (citato indirettamente dalla donna) e il trovatore provenzale Arnaut Daniel saranno gli ultimi penitenti a dialogare con Dante nel Purgatorio (Canto XXVI), colpevoli anche loro di lussuria e produttori di quella letteratura amorosa di cui Francesca era stata appassionata lettrice.
xxx/ellauri187.html on line 119: Ralph Freedman gives a remarkably purposeful account of Rilke's deprivation. But he describes none of Rilke's ardor--or his honest avowals, or all the discipline and strength and health he needed to draw his life's work out of depressions, blocks, and fears, out of his contemporary-sounding struggle between a Faustian ego and an endangered self. In this biography we don't get Rilke's poetic transformations. We get only the modern condition--his and his society's--that he poetically transformed and that we've inherited.
xxx/ellauri199.html on line 366: In 1778 Hammon published "The Kind Master and Dutiful Servant," a poetical dialogue, followed by "A Poem for Children with Thoughts on Death" in 1782. These works set the tone for Hammon´s "An Address to Negros in the State of New York."
xxx/ellauri229.html on line 757: In Russia, Tyutchev is one of the most memorized and quoted Russian poets. Occasional pieces, translations and political poems constitute about a half of his overall poetical output.
xxx/ellauri400.html on line 208: noble nature, poetically gifted, treats with
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