ellauri014.html on line 1621: In Adone, Marino quotes and rewrites passages from Dante´s Divine Comedy, Ariosto, Tasso and the French literature of the day. The aim of these borrowings is not plagiarism but rather to introduce an erudite game with the reader who must recognise the sources and appreciate the results of the revision. Marino challenges the reader to pick up on the quotations and to enjoy the way in which the material has been reworked, as part of a conception of poetic creation in which everything in the world (including the literature of the past) can become the object of new poetry. In this way, Marino also turns Adone into a kind of poetic encyclopaedia, which collects and modernises all the previous productions of human genius.
ellauri042.html on line 717: Dostoevsky´s illness influenced some peculiarities of his writing, his language and style. Dostoevsky´s bad memory was well known; he had to take notes for everything His language is nervous, tense and impulsive. His phrases are sometimes long and complicated, containing a fanciful conglomeration of colloquial words and expressions, official, journalistic and scientific terms, and slips of the tongue, foreign words, names and quotations. But now and then we can see here very short, elliptic phrases.
ellauri067.html on line 140: Gravity´s Rainbow by Thomas Pynchon begins with a quotation from von Braun: "Nature does not know extinction; all it knows is transformation. Everything science has taught me, and continues to teach me, strengthens my belief in the continuity of our spiritual existence after death."
ellauri089.html on line 98: It started with the famous Henry quotation: "Is life so dear, or peace so sweet, as to be purchased at the price of chains and slavery? Forbid it, Almighty God! I know not what course others may take, but as for me, give me liberty, or give me death!!". It then went on to admit that there was some risk to nuclear testing (albeit less than the "willfully distorted" claims of the test ban advocates), and risk of nuclear war, but that "The alternative is surrender. We accept the risks." Heinlein was among those who in 1968 signed a pro-Vietnam War ad in Galaxy Science Fiction. Että semmonen libertiini.
ellauri094.html on line 349: (All Scriptural quotation comes from the New American Standard Bible)
ellauri159.html on line 1093: Build your topic around a visual element. It is way easier than reading. This might be a chart, a graphic—even a quotation. They may follow a template that’s worked in the past, rather than inventing something new. Just be sure to give a new slant on the old idea to keep it fresh.
ellauri159.html on line 1111: Build your topic around concrete elements like quotations. This may be a good approach to help organize a first draft. During the revision process, add your own unique words here and there to avoid relying too much on other people’s ideas.
ellauri217.html on line 713: At the council, following advice offered by Simon Peter (Acts 15:7–11 and Acts 15:14), Barnabas and Paul gave an account of their ministry among the gentiles (Acts 15:12), and the apostle James quoted from the words of the prophet Amos (Acts 15:16–17, quoting Amos 9:11–12). James added his own words to the quotation: "Known to God from eternity are all His works" and then submitted a proposal, which was accepted by the Church and became known as the Apostolic Decree:
ellauri236.html on line 384: In 1947, the sado-eroticism in Chase's book was parodied by Raymond Queneau in his pastiche novel, We Always Treat Women Too Well. In 1961, the novel was extensively rewritten and revised by the author because he thought the world of 1939 too distant for a new generation of readers (confusion can result if readers of the Orwell essay refer his quotations and references to the 1962 edition).
ellauri238.html on line 730: "My cup runneth over" is a quotation from the Hebrew Bible (Psalms:23:5) and means "I have more than enough for my needs", though interpretations and usage vary. This phrase, in Hebrew כּוֹסִי רְוָיָה (kōsî rəwāyāh), is translated in the traditionally used King James Version as my cup runneth over. Newer translations of the phrase include "my cup overflows" and "my cup is completely full".
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ellauri399.html on line 212: The fellowship’s magazine, Marching the Penguin, tells the rest of the story. On March 6, Paramhansa told his disciples laughingly, “I have a big day tomorrow. Wish me luck.” The next day he attended a banquet at Los Angeles’ Biltmore Hotel for the new Indian ambassador, Binay Ranjan Sen, and his beautiful wife. *Seated with legs wide apart: Mme. Binay Ranjan Sen, wife of the Indian Ambassador, with a transsexual looking guru touching her private parts in a respectful Hindu way (the pronam.)" After eating modestly (pussy, vegetables, yellowish hairy nut juice and a raspberry parfait), the guru rose to make a speech about “spiritual India.” He ended it with a quotation from one of his own poems: Where Ganges, woods, Himalayan man caves, and men dream God—I am hallowed; my elongated body part touched the wife of that sod.
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xxx/ellauri068.html on line 187: "My own favourite tribute to Borges comes in Thomas Pynchon’s Gravity’s Rainbow in which a group of Argentinian exiles, led by the adventurer Squalidozzi, and at large in Europe during World War Two, hijack a German submarine. Improbably, they are accompanied by the glamorous Graciela Imago Portales – a ‘particular friend’ of the Buenos Aires literati – to whom ‘Borges is said to have a dedicated a poem’. Two lines are cited: “El laberinto de tu incertidumbre / Me trama con la disquietante luna . . .” Of course, the quotation has puzzled scholars, as it is neatly consistent with the rhythms and motifs of Borges’ earlier work, and yet nowhere to be found in his oeuvre. It would no doubt have delighted Borges, the more so since Pynchon made it up."
xxx/ellauri075.html on line 347: This history of the nineteenth-century Paris arcades, creatively triggered by Louis Aragon’s (1897–1982) Le Paysan de Paris or Paris Peasant (1926), collects thousands of quotations strategically arranged with snippets of critical commentary in chapters or bundles called ‘convolutes’.
xxx/ellauri085.html on line 106: If it is a surprise to learn that Lawrence originally conceived of Women in Love as a money-making pot-boiler, it comes as an endearing shock to read that James Joyce submitted some of his early work to the firm of Mills and Boon. There is no record of the reader’s report, beyond the fact that he rejected Dubliners as unsuitable material for the unique imprint of that publishing house. For his part, Lawrence had no doubt that the author of Ulysses was the real smutmonger of modern fiction. ‘My God, what a clumsy olla putrida James Joyce is!’, he wrote to Aldous Huxley, ‘nothing but old fags and cabbage-stumps of quotations from the Bible and the rest stewed in the juice of deliberate journalistic dirty-mindedness.’ To his wife Frieda he wrote, after reading Ulysses, that ‘the last part of it is the dirtiest, most indecent, obscene thing ever written’; and he later complained that Joyce had degraded the novel to the level of an instrument for measuring twinges in the toes of unremarkable men. Joyce’s reply to the charge that he was just another pornographer doing dirt on sex was to claim that at least he had never made the subject predictable or boring. He denounced Lady Chatterbox’s Lover — his title for Lawrence’s notorious novel — as a ‘lush’ production in ‘sloppy English’ and dismissed its ending as ‘a piece of propaganda in favour of something which, outside of DHL’s country at any rate, makes all the propaganda for itself’. It is a minor irony of literary history that both men were married at Kensington Register Office in London, although, unlike Lawrence, the Irishman allowed a decent interval of twenty-five years to elapse before the solemnisation of his nuptials.
xxx/ellauri086.html on line 621: Dupin explains that the gunshot distraction was arranged by him and that he left a duplicate letter to ensure his ability to leave the hotel without D— suspecting his actions. If he had tried to seize it openly, Dupin surmises D— might have had him killed. As both a political supporter of the queen and old enemy of the minister [who had done an evil deed to Dupin in Vienna in the past], Dupin also hopes that D— will try to use the power he no longer has, to his political downfall, and at the end be presented with a quotation from Prosper Jolyot de Crébillon's play Atrée et Thyeste that implies Dupin was the thief: Un dessein si funeste, S'il n'est digne d'Atrée, est digne de Thyeste (If such a sinister design isn't worthy of Atreus, it is worthy of Thyestes).
xxx/ellauri166.html on line 420: The Tosafot do not constitute a continuous commentary, but rather (like the "Dissensiones" to the Roman Code of the first quarter of the twelfth century) deal only with difficult passages of the Talmud. Single sentences are explained by quotations which are taken from other Talmudic treatises and which seem at first glance to have no connection with the sentences in question. On the other hand, sentences which seem to be related and interdependent are separated and embodied in different treatises. The Tosafot can be understood only by those who are well advanced in the study of the Talmud, for the most entangled discussions are treated as though they were simple. Glosses explaining the meaning of a word or containing a grammatical observation are very rare.
xxx/ellauri167.html on line 528: But he quotes largely from Wishaupt whom he considers as the founder of what he calls the order. As you may not have had an opportunity of forming a judgment of this cry of `mad dog’ which has been raised against his doctrines, I will give you the idea I have formed from only an hour’s reading of Barruel’s quotations from him, which you may be sure are not the most favorable.
xxx/ellauri170.html on line 214: I added the entry for the verb blow (in the relevant sense) from the Eleventh Collegiate Dictionary, including that dictionary's take on the etymology of the term. I'm very surprised that no one before Elena Lysko pointed out the correct meaning of blow in the quotation cited by the OP; the question has been on EL&U for almost three years, and has been seen by more than 2,700 people. In any case, thank you, Elena Lysko, for providing this long overdue clarification. –
xxx/ellauri173.html on line 119: Very likely. But this is what occurs to me: in these poems, Virgil reworks Theocritus´ idylls, in detail, down to including many embedded passages and quotations translated from Greek into Virgillian Latin. I wonder if Θεόκριτος isn't the god who opened the leisure of the pastoral idyll to Virgil. Θεός means 'god' after all, as Virgil would have known. And κριτος? Well κριτος means 'selection', 'choice'. It means eclogue.
xxx/ellauri179.html on line 619: Novick’s attempt to find love affairs in James’ life reminds me of the 1920s, when there were no biographies of James, and critics loved to speculate on the mysteries of his privacy. Van Wyck Brooks, a skillful writer of pastiche, produced his quasi-biographical Pilgrimage of Henry James to prove the novelist was a literary failure because he had uprooted himself from the United States. Edna Kenton, a devoted Jamesian in Greenwich Village, demonstrated in a biting review in The Bookman that Brooks used important James quotations out of context. Years later, Brooks confessed to having nightmares “in which Henry James turned great luminous menacing eyes upon me.”
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xxx/ellauri354.html on line 372: Latin is a common language for the mottos: whether as quotations taken from the Roman writers Ovid, Martial, or Horace, or as translations of time-related sentiments. Mechanick Dialling, a 1769 manual for creating sundials, includes 300 “Latin mottos for dials, with their Meaning in English”, indicative of an expectation that a motto would be added. Margaret Gatty, who wrote the book on sundials (“The Book of Sundials”), collected 1,682 mottos in an appendix to her exhaustive history, taken from instruments all over Europe.
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