ellauri048.html on line 1129: This stanza is to be found in Canto 27. The last two lines are usually taken as offering a meditation on the dissolution of a romantic relationship. However, the lines originally referred to the death of the poet's beloved friend. They are reminiscent of a line from William Congreve's popular 1700 play, The Way of the World: "'tis better to be left than never to have been loved." What the fuck, this is an obvious homoerotic elegy.
ellauri080.html on line 441: The introvert will give ultimate significance to subjective, inner experience and will tend to assign importance to what is happening externally only as it related to this inner experience, or only if it will lead to personal growth. The extravert, contrarily, will give ultimate significance to what is happening externally in the objective, outer world and will assign very little importance or completely disregard inner experience, unless it could lead to outer growth. These are obviously two diametrically opposed yet complementary approaches to life, reminiscent of the oriental Yin (introversion) and Yang (extraversion).
ellauri140.html on line 132: Una F+, the personification of the "True Church". She travels with the Redcrosse Knight (who represents England), whom she has recruited to save her parents´ castle from a dragon. She also defeats Duessa, who represents the "false" (Catholic) church and the person of Mary, Queen of Scots, in a trial reminiscent of that which ended in Mary´s beheading. Una is also representative of Truth. Aku Ankalla oli paleoliittinen väkivahva ihailija nimeltä Una joka ei osannut minä-sanaa. Kymingatar Elisabet sanoi aina me. We are not amused.
ellauri171.html on line 1060: Tamar’s place in the family and Judah’s posterity are secured. She gives birth to twins, Perez and Zerah (Gen 38:29–30; 1 Chr 2:4), thus restoring two sons to Judah, who has lost two. Their birth is reminiscent of the birth of Rebekah’s twin sons, at which Jacob came out holding Esau’s heel (Gen 25:24–26). Perez does him one better. The midwife marks Zerah’s hand with a scarlet cord when it emerges from the womb first, but Perez (whose name means “barrier-breach”) edges his way through. Cuts the queue. From his line would come David. Not surprising.
ellauri171.html on line 1157: Absalom waited, biding his time. For two years he said nothing, did nothing, but then he set his trap. He gave a feast for all David’s sons. At the height of the festivities when Amnon was half-drunk, Absalom had his half-brother killed, stabbed to death in a scene reminiscent of a Mafia killing. In the ensuring turmoil Absalom escaped, fleeing for sanctuary to Geshur, his grandfather’s territory.
ellauri180.html on line 587: The next turn in the poem is reminiscent of the story of, and the feud between, Cain and Abel the first two sons of Adam and Eve except reeled in reverse. A large number of “holy things” (like banknotes) had already been used for an unholy purpose (such as kindling for another fire).
ellauri198.html on line 138: About all of Warren’s work there is a gusto and masculine force, a willingness to risk bathos and absurdity, reminiscent of Shakespeare.
ellauri210.html on line 778: An autobiographical work by Michel del Castillo, a Spanish born writer who writes in French, Tanguy is a powerfully moving novel highly reminiscent of The Diary of Anne Frank (due mainly to the child's point of view as opposed to that of the adult). Narrating in first person, the story of a young Spanish boy, Tanguy, the novel is set against the backdrop of the war.
ellauri362.html on line 743: The poem reaches its climax with a scene of domestic violence, where a drunken husband returns home and engages in a heated argument with his wife. The ensuing chaos and destruction are reminiscent of a battlefield, with insults hurled like weapons and tempers flaring out of control.
ellauri392.html on line 823: This ultimate tunnel vision of pursuing “intellectual liberation”å through a narrow tube of Heidegger seen through Derrida seen through de Man is reminiscent of a Yiddish proverb: “Az der vorem zitst in khreyn, meynt er az es iz keyn zisers nito.” Kun mato istuu piparjuuressa, se ei tiedä mitään ihanampaa paikkaa.
xxx/ellauri114.html on line 357: Combining these prophecies we have the anti-Christ, now indwelt by Satan, determined to rid the world of God’s people once and for all. Heeding the Lord’s 2,000 year old warning, the believing remnant will flee to the mountains of Edom where the city of Petra has been standing empty for centuries, as if in preparation. The phrase “wings of a great eagle” in Rev. 12:14 is reminiscent of Exodus 19:4 where the Lord used the same phrase to describe the way he delivered Israel from the Egyptians. This implies the same kind of supernatural assistance, such as when Satan spews out a river of water to sweep the woman away. But the Lord will open the earth to swallow the river and save the woman. This will enrage Satan, but he will leave the woman and go after other followers of Jesus (Rev. 12:15-17).
xxx/ellauri179.html on line 312: There is an illuminating text in William James (1842-1910) which is both significant and reminiscent, bridging the gap between Puritan moralism, its educational parables and exempla, and lost-generation turbulent heroism. In a letter written in Yosemite Valley to his brother Henry William James wrote:
xxx/ellauri200.html on line 184: Naipaul's fiction and especially his travel writing have been criticised for their allegedly unsympathetic portrayal of the Third World. The novelist Robert Harris has called Naipaul's portrayal of Africa racist and "repulsive," reminiscent of Oswald Mosley's fascism. Edward Said argued that Naipaul "allowed himself quite consciously to be turned into a witness for the Western prosecution", promoting what Said classified as "colonial mythologies about wogs and darkies". Said believed that Naipaul's worldview may be most salient in his book-length essay The Middle Passage (1962), composed following Naipaul's return to the Caribbean after 10 years of exile in England, and the work An Area of Darkness (1964).
xxx/ellauri225.html on line 427: Crane was admired by artists including Allen Tate, Eugene O´Neill, Kenneth Burke, Edmund Wilson, E. E. Cummings and William Carlos Williams. Although Hart had his sharp critics, among them Marianne Moore and Ezra Pound, Moore did publish his work, as did T. S. Eliot, who, moving even further out of Pound´s sphere, may have borrowed some of Crane´s imagery for Four Quartets, in the beginning of East Coker, which is reminiscent of the final section of "The River", from The Bridge.
xxx/ellauri354.html on line 281: Indeed, as Rinaldi claims, The Black Pig “tells you about those priests” (FTA 8). And it is easy enough to see why the priest thought it “a filthy and vile book.” But Rinaldi’s complaint, that it “shook my faith” (7), needs to be read in the context of everything else we know of this character. If Rinaldi is a real believer—which I doubt—he would disdain Notari’s book, which, although heavily documented, is dripping with scorn, irony, and bias. But if his faith is automatic and largely irrelevant, or if it has already been shaken, he might have read on, attracted by Notari’s wide reading, his witty, strong prose, and his relentlessly rationalist logic, sometimes reminiscent of MarkTwain.
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