ellauri249.html on line 472: Its origin is set down in Pliny the Elder's Naturalis Historia where he records that a shoemaker (sutor) had approached the painter Apelles of Kos to point out a defect in the artist's rendition of a sandal (crepida from Greek krepis), which Apelles duly corrected. Encouraged by this, the shoemaker then began to enlarge on other defects he considered present in the painting, at which point Apelles advised him that ne supra crepidam sutor iudicaret ('a shoemaker should not judge beyond the shoe'), which advice, Pliny observed, had become a proverbial saying. The Renaissance interest in meddling cluelessly into other people's affairs made the expression popular again.
xxx/ellauri114.html on line 730: One explanation is that it has an original meaning of "lowlands", from a Semitic root knʿ "to be low, humble, depressed", in contrast with Aram, "highlands". An alternative suggestion derives the term from Hurrian Kinahhu, purportedly referring to the colour purple, so that Canaan and Phoenicia would be synonyms ("Land of Purple"), but it is just as common to assume that Kinahhu was simply the Hurrian rendition of the Semitic knʿn.
xxx/ellauri121.html on line 291: Her early years of winter school had taught her that it's possible to go through the entire year's curriculum in a month. As a result, she advanced quickly, and there was an awkward period when she was in a class of much older children: "They shouldn't have done that. I was 12 in the first year of high school and there were people in my class who were 15-and-a-half." That surely taught her a lot, a likely model of The Red House in Handmaid's Tale. She was tired a lot and developed a heart condition, inherited from her father, in which the heart beat is irregular, almost syncopated. Her verbal rendition of the rhythms is hard to transcribe, but these lines from one of her early poems, "Faulty Heart", capture it:
xxx/ellauri127.html on line 53: "Trees" is frequently included in poetry anthologies and has been set to music several times—including a popular rendition by Oscar Rasbach, performed by singers Nelson Eddy, Robert Merrill, and Paul Robeson.
xxx/ellauri157.html on line 107: In the seventeenth century, the story of King Candaules’s wife was seen as a moral lesson, warning against violations of the marital bedchamber. The theme was treated by the poet Jacob Cats in his Toneel vande mannelicke Achtbaerheyt, in which he devoted no less than eighty-six verses to the tale of Candaules and Gyges, and illustrates the scene in the royal bedchamber with a print by Pieter de Jode after Adriaen van de Venne. In the print the Queen is seen half naked from behind. Candaules is already in bed, and the Queen looks at Gyges, who is largely concealed behind the wallhangings. The moral of the story is clarified by a scene on a smaller scale in the background, showing Candaules being slain by Gyges. The print no doubt served as an inspiration for several other later renditions of the theme in Northern Netherlandish painting, including works by Frans van Mieris the Elderv, and Eglon van de Neervi.
xxx/ellauri228.html on line 606: Lynne Perrie, best known for her role as Ivy Tilsley in soap opera Coronation Street, performing a tuneless rendition of the Gloria Gaynor song "I Will Survive".
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