ellauri002.html on line 280: Hark! you shadows that in darkness dwell,

ellauri004.html on line 1228: Life´s but a walking shadow,

ellauri035.html on line 181: Rich with small lights, and tinted shadows surprised
ellauri035.html on line 392: Whose lids make such sweet shadow when they close
ellauri035.html on line 427: Their ashes of lapis ultramarine, Their earth of shadows the umber. Laughing at art
ellauri035.html on line 486: Your shadowed head lies leaving a bright space
ellauri035.html on line 504: The world was like a flight of birds, shadow or flame
ellauri048.html on line 1585: That holds the shadow of a lark
ellauri048.html on line 1586: Hung in the shadow of a heaven?
ellauri051.html on line 1142: 551 The little light fades the immense and diaphanous shadows, 551 Pieni valo häivyttää valtavat ja läpikuultavat varjot,
ellauri051.html on line 1360: 760 Where sun-down shadows lengthen over the limitless and lonesome prairie, 760 Missä auringonlaskun varjot pitenevät rajattoman ja yksinäisen preerian yli,
ellauri051.html on line 1661: 1053 Putting myself here and now to the ambush'd womb of the shadows. 1053 Laitan itseni tässä ja nyt varjojen väijytyskohtuun.
ellauri051.html on line 1955: 1335 It flings my likeness after the rest and true as any on the shadow'd wilds, 1335 Se heittää kaltaiseni muun jälkeen ja on totta kuin mikä tahansa varjon erämaassa,
ellauri052.html on line 95: This falling away of the world then renders the interplay of thought and reflection a sterile joke, as whatever the main character finally decides, there is no outside world for his deliberations to have meaning. Bellow has little choice, in the world of raging shadows he creates, other than to step away from the quest of thought at the climactic moment, and pretend he was only kidding.
ellauri052.html on line 655: There were two Krishnamurtis. One was the persona presented to the world through lectures and books; a man without ego who led a sanctified life of celibacy and high moral purity. The other Krishnamurti was a shadowy, self-centered, vain man, capable of sudden angers and enormous cruelty to friends. He was also a habitual liar. Krishna, as his friends called him, freely admitted his compulsive lying. He blamed it on simple fear of having his deceptions detected.
ellauri052.html on line 754: So they wrestled swiftly, rapturously, intent and mindless at last, two essential white figures working into a tighter closer oneness of struggle, with a strange, octopus-like knotting and flashing of limbs in the subdued light of the room; a tense white knot of flesh gripped in silence between the walls of old brown books. Now and again came a sharp gasp of breath, or a sound like a sigh, then the rapid thudding of movement on the thickly-carpeted floor, then the strange sound of flesh escaping under flesh. Often, in the white interlaced knot of violent living being that swayed silently, there was no head to be seen, only the swift, tight limbs, the solid white backs, the physical junction of two bodies clinched into oneness. Then would appear the gleaming, ruffled head of Gerald, as the struggle changed, then for a moment the dun-coloured, shadow- like head of the other man would lift up from the conflict, the eyes wide and dreadful and sightless.
ellauri061.html on line 199: Edmond Malone, a Shakespearean scholar and critic of the late 18th century, found another flaw in this particular play, its lack of a proper decorum. He found that the "more exalted characters" (the aristocrats of Athens) are subservient to the interests of those beneath them. In other words, the lower-class characters play larger roles than their betters and overshadow them. He found this to be a grave error of the writer. Tääkin muistuttaa Nuorgamin runoilijasta (ks alempana).
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.
ellauri069.html on line 470: Much of the book is about the difficulty of living in the ubiquitous shadow of immanent, instant destruction. How do you live a life with anything like normalcy, if you know that at any moment a V2 rocket you won't hear coming could make that moment your last? Some fall to nihilist "mindless pleasures" (the novel's working title); some play power games; some withdraw from the world; some remain willingly oblivious. Normalcy turns out not to be an option.
ellauri071.html on line 565: The Qliphoth of Hod, similarly is founded on the idea of a radiating object: our eyes are blinded and cannot look behind the radiating surface. Unauthentic brilliance can be understood as the beginning of illusion and deceit. In the realm of the mind the shadow of Hod therefore is represented by the lie, artfulness or beguilement. At the same time the demon of Hod correlates to the ideas of fickleness, hesitation and lack of determination - the negative fluctuations of our mind. The Qliphoth of Hod is called ‘Samael‘ which can be translated as ‘The Deceitful Ones‘ (german, ‘Die Täuscher’, kr. diabolos) or ‘Poison of God’ (german, ‘Das Gift Gottes’).
ellauri073.html on line 269: In the sketch itself, Foley attempts to motivate two teens, played by Spade and Applegate, to "get themselves back on the right track" after the family’s cleaning lady finds a bag of marijuana in their home. Foley’s attempt to motivate them falls short when he repeatedly insists that they're "not going to amount to jack squat" and will end up “living in a van down by the river!” Foley attempts to endear himself to Spade's character by telling him they're "gonna be buddies" and that everywhere he goes, Foley will follow. Comparing himself to Spade's shadow, Foley jumps about where he's standing and then dives into the coffee table, though he picks himself up moments later. None of the other cast members knew that Farley was going to do this and their startled reactions are genuine. The sketch ends with Foley offering that the only solution to solve the family's problems is for him to move in with them. Horrified, Applegate begs him not to, vowing never to smoke pot again. Even so, Foley leaves the house to get his things from his van and the family locks him out, finally reconciling and admitting to how much they love each other.
ellauri093.html on line 905: FOR MANY years it has been my privilege to teach Jewish young men the way of salvation. Naturally I began by showing them Christ in the Old Testament, how our heavenly Father began to teach His young children in object lessons and how their Messiah was foreshadowed in type and prophecy.
ellauri094.html on line 94: Syreeni suggests that the letters of John - written after the predecessor gospels but before the final edition - reveal a schism in the Johannine community that was caused by the majority faction's acceptance of Jesus' death and resurrection, as it was then recorded in the new gospel. By exploring the gospel's different means of legitimizing the passion story, such as the creation of the 'Beloved Disciple' to witness Jesus' passion, and the foreshadowing of the resurrection of Jesus in the miracle of Lazarus, Syreeni provides a bold and provocative case for a new understanding of John.
ellauri095.html on line 282: I shall not see the shadows, Emmä nää mitään varjoja,
ellauri095.html on line 483: The sequence of events is clear. On 18 January 1866 Hopkins composed his most ascetic poem, “The Habit of Perfection” (Täydellinen asukokonaisuus). On 23 January he included poetry in the list of things to be given up for Lent. In July he decided to become a Catholic, and he traveled to Birmingham in September to consult the leader of the Oxford converts, John Henry Newman. Newman received him into the Church in October. On 5 May 1868 Hopkins firmly “resolved to be a religious.” Less than a week later, apparently still inspired by Savonarola, he made a bonfire of his poems and gave up poetry almost entirely for seven years. Finally, in the fall of 1868 Hopkins joined a “serged fellowship” like Savonarola’s and like the one he admired in “Eastern Communion”(1865), a commitment foreshadowed by the emphasis on vows of silence and poverty in “The Habit of Perfection.”
ellauri096.html on line 527: Galgalim Eyes is an enemy-only skill, found on bosses and a few shadows in the later dungeons. It reduces a foe's HP to 1 and causes the Enervation ailment (100% chance).
ellauri117.html on line 251: So they wrestled swiftly, rapturously, intent and mindless at last, two essential white figures working into a tighter closer oneness of struggle, with a strange, octopus-like knotting and flashing of limbs in the subdued light of the room; a tense white knot of flesh gripped in silence between the walls of old brown books. Now and again came a sharp gasp of breath, or a sound like a sigh, then the rapid thudding of movement on the thickly-carpeted floor, then the strange sound of flesh escaping under flesh. Often, in the white interlaced knot of violent living being that swayed silently, there was no head to be seen, only the swift, tight limbs, the solid white backs, the physical junction of two bodies clinched into oneness. Then would appear the gleaming, ruffled head of Gerald, as the struggle changed, then for a moment the dun-coloured, shadow- like head of the other man would lift up from the conflict, the eyes wide and dreadful and sightless.
ellauri160.html on line 401: Sun to his slumber, shadows o’er all the ocean, Päivä mailleen, varjoisaxi koko meri,
ellauri164.html on line 483: Moses is one of the most prominent figures in the Old Testament. While Abraham is called the “Father of the Faithful” and the recipient of God’s unconditional covenant of grace to His people, Moses was the man chosen to bring redemption to His people. God specifically chose Moses to lead the Israelites from captivity in Egypt to salvation in the Promised Land. Moses is also recognized as the mediator of the Old Covenant and is commonly referred to as the giver of the Law. Finally, Moses is the principal author of the Pentateuch, the foundational books of the entire Bible. Moses’ role in the Old Testament is a type and shadow of the role Jesus plays in the New Testament. As such, his life is definitely worth examining.
ellauri164.html on line 497: The above is only a brief sketch of Moses’ life and does not talk about his interactions with God, the manner in which he led the people, some of the specific ways in which he foreshadowed Jesus Christ, his centrality to the Jewish faith, his appearance at Jesus’ transfiguration, and other details. But it does give us some framework of the man. He is somewhat recalcitrant, to put it mildly.
ellauri164.html on line 873: We would expect the pattern to repeat here. The people have rebelled, so the next part would be God’s wrath and threats of destruction. Instead, however, God merely grants their request for water. No mention of sin or possible annihilation, just grace in providing for Israel’s needs. The fact that this cycle we’ve come to expect changes is designed to highlight an important event; the oddity of the text “awakens us from our narrative slumber,” as one commentator puts it, and forces us to pay attention closely to what’s occurring. Why would God not threaten destruction? To answer that, we have to remember a key aspect of God’s character: He does not change. Hebrews 13:8 says He is the same yesterday and today and forever, “without variation or shifting shadow,” (James 1:17). The purpose of the threats of destruction, and Moses/Aaron’s intercession, was not to actually change God’s mind. God knew exactly what was going to happen in all these instances. God’s threats on Israel are spoken to Moses so that Moses will intercede. They are tests of Moses’ (and Aaron’s) character, just as God’s conversation with Abraham over the fates of Sodom and Gomorrah (Genesis 18) was about testing Abraham’s character rather than the doomed cities. Yet here, in Numbers 20, God does not follow the pattern. Why?
ellauri171.html on line 1027: In recent years, scholars have tried to reclaim the shadowy female figures whose tales are often only partially told in the Bible. Rehabilitating Jezebel’s stained reputation is an arduous task, however, for she is a difficult woman to like. She is not a heroic fighter like Deborah, a devoted sister like Miriam or a cherished wife like Ruth. Jezebel cannot even be compared with the Bible’s other bad girls—Potiphar’s wife and Delilah—for no good comes from Jezebel’s deeds. These other women may be bad, but Jezebel is the worst.
ellauri189.html on line 438: The Jordan River is a shadow of what it once was. The river acts as the main water source for Jordan, Israel, and the West Bank. As a result, 90% of the fresh water that replenishes it is diverted to agriculture. Another problem facing it is pollution from agricultural and wastewater run-offs. About 50% of the agricultural run-offs from the surrounding areas are dumped into the river which has caused its water levels to drop dramatically.
ellauri206.html on line 63: The concept is often attributed to Russian playwright Anton Chekhov, reputed to have said "Don't tell me the moon is shining; show me the glint of light on broken glass." What Chekhov actually said, in a letter to his brother, was "In descriptions of Nature one must seize on small details, grouping them so that when the reader closes his eyes he gets a picture. For instance, you’ll have a moonlit night if you write that on the mill dam a piece of glass from a broken bottle glittered like a bright little star, and that the black shadow of a dog or a wolf rolled past like a ball."
ellauri207.html on line 72: ‘And the crows – they still wing, still wheel, only closer now – closer now – closer to me. These sly corbies are birds of death. They’ve shadowed me all mah life’
ellauri219.html on line 409: An American artist known for large sculptures that play with light and space, Larry Bell first made his mark with a series of “shadowboxes” constructed in the 60s, and has since gone on to receive acclaim for his wide-ranging work, including the Vapor Drawings of the 80s and a subsequent range of Mirage Drawings.
ellauri238.html on line 928: yellow shadows that pierce the eyes? varjotkin on keltaisia ja pistää silmiin?
ellauri241.html on line 446: And threw their moving shadows on the walls, ja heittivät liikkuvia varjojaan seinille,
ellauri241.html on line 778: Here represent their shadowy presences, täällä edustavat heidän varjoista läsnäoloaan,
ellauri241.html on line 837: Of beechen green, and shadows numberless, pyökinvihreää ja lukemattomia varjoja,
ellauri262.html on line 211: Media coverage of Lewis's death was almost completely overshadowed by news of the assassination of John F. Kennedy, which occurred on the same day (approximately 55 minutes following Lewis's collapse), as did the death of English writer Aldous Huxley, author of Brave New World.
ellauri270.html on line 300: In “The Daemon Lover,” the second story in The Lottery and Other Stories, Jackson’s collection of 25 tales, the reader sees James Harris only through his fiancée’s eyes as a tall man wearing a blue suit. Neither the reader nor anyone in the story can actually claim to have seen him. Nonetheless, this piece foreshadows the appearance of Harris in such other stories in the collection as “Like Mother Used to Make,” “The Village,” “Of Course,” “Seven Types of Ambiguities,” and “The Tooth.” As James Harris wanders through the book, he sheds the veneer of the ordinary that covers his satanic nature.
ellauri270.html on line 361: The men’s nervousness foreshadows the lottery’s grim outcome. Tessie acts at odds with the pervasive mood, drawing laughs from the crowd. Tessie does not question the lottery at this point, and treats the proceedings lightheartedly—from a position of safety.
ellauri270.html on line 411: “The Lottery” begins with a description of a particular day, the 27th of June, which is marked by beautiful details and a warm tone that strongly contrast with the violent and dark ending of the story. The narrator describes flowers blossoming and children playing, but the details also include foreshadowing of the story’s resolution, as the children are collecting stones and three boys guard their pile against the “raids of the other boys.” These details… read analysis of The Juxtaposition of Peace and Violence.
ellauri300.html on line 40: shadows_prensa_final.jpg" width="100%" />
ellauri368.html on line 292: cannot be found. Men of intelligence and knowledge ate searched from one end of the earth to the other, but their place is unknown. The moral man — even his shadow is gone. Orators and poets have run away and joined the scooters. The pious have become impious, the shrewd have lost their senses in drink. . . Judges have gone wrong, honest men turned defaulters. Princes cheat and magistrates keep themselves in hiding. . ."
ellauri386.html on line 364: A substance like the shadow of the sun,

ellauri386.html on line 385: Raleigh's poem is a departure from the more idealized and romantic treatments of love that were common in Elizabethan poetry. It reflects the growing skepticism and disillusionment with love that began to emerge during the Renaissance. It also foreshadows the more cynical and satirical treatments of love that would become prevalent in the following century. Lizzy loved it until she found out that Walt was actually thinking of the servant.
ellauri389.html on line 155: viiva jonka piirtää hyrskyt rantaviivalle, All is black shadow, but the lucid line
ellauri389.html on line 407: Mrs. Coleridge, writing to Poole in April 1819, says that Lloyd visited Greta Hall "last summer," and said "he was lost and his wife and children only shadows.’ His mental condition seems to have borne great affinity to Cowper's. (What? oliko "verilähde sydämen" hullun houreita?) Soon after his interview with De Quincey, however, he temporarily recovered, and moved to London, accompanied by his wife, but not, as would appear, by his children.
ellauri393.html on line 292: Although he married three times and raised a family, Rockwell acknowledged that he didn’t pine for women. They made him feel imperiled. He preferred the nearly constant companionship of men whom he perceived as physically strong. It may have represented Rockwell’s solution to the problem of feeling wimpish and small. Rockwell, who was born in New York City in 1894, the son of a textile salesman, attributed much about his life and his work to his underwhelming physique. As a child he felt overshadowed by his older brother, Jarvis, a first-rate student and athlete. Norman, by contrast, was slight and pigeon-toed and squinted at the world through owlish glasses. His grades were barely passing and he struggled with reading and writing—today, he surely would be labeled dyslexic. Growing up in an era when boys were still judged largely by their body type and athletic prowess, he felt, he once wrote, like “a lump, a long skinny nothing, a bean pole without beans.” Assistants looked better than the missus. “Fred is most fetching in his long flannels,” he notes appreciatively.
ellauri408.html on line 426: All that spectacular nonsense was followed by Peter healing every sick person in Jerusalem and all the surrounding cities with his shadow, and yet no one breathed a single word of it, not even the famous Jewish historian Flavius Josephus, who grew up in Jerusalem while these alleged “miracles” were taking place! Why did Josephus go on and on about much lesser figures when the greatest miracle worker of all time lived just down the street from him?
xxx/ellauri086.html on line 882: And the lamp-light o’er him streaming throws his shadow on the floor; arkkipiispa, musta siira. Mun oma musta pää se viiraa,
xxx/ellauri086.html on line 883: And my soul from out that shadow that lies floating on the floor Pazastelee pazaan alla silmät kuopalla kuin sillä,
xxx/ellauri087.html on line 466: Archibald MacLeish's poem "You, Andrew Marvell", alludes to the passage of time and to the growth and decline of empires. In his poem, the speaker, lying on the ground at sunset, feels "the rising of the night". He visualizes sunset, moving from east to west geographically, overtaking the great civilizations of the past, and feels "how swift how secretly / The shadow of the night comes on."
xxx/ellauri103.html on line 556: The public outcry today over the company´s labor conditions is a shadow of what it once was.
xxx/ellauri114.html on line 774: In the subsequent passage, "of Shem... may Canaan be his servant,"[9:26] the narrator is foreshadowing Israel's conquest of the promised land. Biblical scholar Philip R. Davies explains that the author of this narrative used Noah to curse Canaan, in order to provide justification for the later Israelites driving out and enslaving the Canaanites.
xxx/ellauri120.html on line 359: "Nam Sibyllam quidem Cumis ego ipse oculis meis vidi in ampulla pendere, et cum illi pueri dicerent: Sibylla ti theleis; respondebat illa: apothanein thelo." I. THE BURIAL OF THE DEAD April is the cruellest month, breeding Lilacs out of the dead land, mixing Memory and desire, stirring Dull roots with spring rain. Winter kept us warm, covering Earth in forgetful snow, feeding A little life with dried tubers. Summer surprised us, coming over the Starnbergersee With a shower of rain; we stopped in the colonnade, And went on in sunlight, into the Hofgarten, 10 And drank coffee, and talked for an hour. Bin gar keine Russin, stamm’ aus Litauen, echt deutsch. And when we were children, staying at the archduke’s, My cousin’s, he took me out on a sled, And I was frightened. He said, Marie, Marie, hold on tight. And down we went. In the mountains, there you feel free. I read, much of the night, and go south in the winter. What are the roots that clutch, what branches grow Out of this stony rubbish? Son of man, 20 You cannot say, or guess, for you know only A heap of broken images, where the sun beats, And the dead tree gives no shelter, the cricket no relief, And the dry stone no sound of water. Only There is shadow under this red rock, (Come in under the shadow of this red rock), And I will show you something different from either Your shadow at morning striding behind you Or your shadow at evening rising to meet you; I will show you fear in a handful of dust. 30 Frisch weht der Wind Der Heimat zu Mein Irisch Kind, Wo weilest du? "You gave me hyacinths first a year ago; "They called me the hyacinth girl." - Yet when we came back, late, from the Hyacinth garden, Your arms full, and your hair wet, I could not Speak, and my eyes failed, I was neither Living nor dead, and I knew nothing, 40 Looking into the heart of light, the silence. Öd’ und leer das Meer.
xxx/ellauri123.html on line 1154: Remu was born in Nogent-le-Rotrou. A nobleman (under the tutelage of the Lorraine family), he did his studies under Marc Antoine Muret and George Buchanan. As a student, he became friends with the young poets Jean de La Péruse, Étienne Jodelle, Jean de La Taille and Pierre de Ronsard and the latter incorporated Remy into the "La Pléiade", a group of revolutionary young poets. Belleau´s first published poems were odes, les Petites Inventions (1556), inspired by the ancient lyric Greek collection attributed to Anacreon and featuring poems of praise for such things as butterflies, oysters, cherries, coral, shadows, turtles, and twats. His last work, les Amours et nouveaux Eschanges des Pierres precieuses (1576), is a poetic description of gems and their properties inspired by medieval and renaissance lapidary catalogues. He died impotent in Paris on 6 March 1577, and was buried in Grands Augustins. Remy Belleau was greatly admired by impotent poets in the twentieth century, such as Francis Ponge. Francis Ponge (1899 Montpellier, Ranska – 1988 Le Bar-sur-Loup, Ranska) oli ranskalainen runoilija. Ponge työskenteli kirjailijanuransa ohella toimittajana, kustannustoimittajana ja ranskan kielen opettajana. Hän osallistui toisen maailmansodan aikana vastarintaliikkeeseen ja kuului vuosina 1937–1947 kommunistipuolueeseen. Hän sai vaikutteita eksistentialismista, ja esinerunoissaan hän paljastaa kielen avulla objektin itsenäisenä, omanlakisena maailmana. Francis Ponge was born in Montpellier, France in 1899. He has been called “the poet of things” because simple objects like a plant, a shell, a cigarette, a pebble, or a piece of soap are the subjects of his prose poems. To transmute commonplace objects by a process of replacing inattention with contemplation was Ponge’s way of heeding Ezra Pound’s edict: ‘Make it new.’ Ponge spent the last 30 years of his life as a recluse at his country home, Mas des Vergers. He suffered from frequent bouts with nervous exhaustion and numerous psychosomatic illnesses. He continued to write up until his death on August 6, 1988.
xxx/ellauri127.html on line 578: The shadow of the dome of pleasure Herkkuperseen varjo näyttäytyi
xxx/ellauri127.html on line 721: Book I gives Endymion's account of his dreams and experiences, as related to Peona, which provides the background for the rest of the poem. In Book II, Endymion ventures into the underworld in search of his love. He encounters Adonis and Venus—a pairing of mortal and immortal—apparently foreshadowing a similar destiny for the mortal Endymion and his immortal paramour. Book III reveals Endymion's enduring love, and he begs the Moon not to torment him any longer as he journeys through a watery void on the sea floor. There he meets Glaucus, freeing the god from a thousand years of imprisonment by the witch Circe. Book IV, "And so he groan'd, as one by beauty slain."
xxx/ellauri134.html on line 112: Scorpio, shadow, Sun Sign, Sun Signs, taurus, Virgo, Wizard
xxx/ellauri137.html on line 204: Majas on a Balcony 1800-1810 is one of the many genre paintings by Goya portraying scenes from contemporary life. The physical setting is an azotea or balcony, a characteristic appendage of Spanish houses and an integral part of social life and character in the towns and cities of Goya's country. The features and props of the setting are confined to an iron railing with vertical grills, a very austere structure (compared to the rich elaborate grill-work of which we are accustomed to think as flourishing in Spain, or at least in New Orleans), which alludes to the socio-economic character of the house; the edge of the floor; some chairs - rather inelegant - one of which has cheap wicker matting; and in the background, a bare wall, a only proof of whose presence is a shadow to the extreme right suggesting a material surface.
xxx/ellauri137.html on line 313: The shadows of night-time grew dense like a pall,
xxx/ellauri137.html on line 317: The shadows of Night-time grew dense like a pall.
xxx/ellauri139.html on line 395: Numerous as shadows haunting fairily Kokonainen muisteloiden torvisoittokunta
xxx/ellauri165.html on line 316: Seeing an opportunity to make some money by taking a cut of sales, Greville sent her to sit for his friend, the painter George Romney, who was looking for a new model and muse. It was then that Emma became the subject of many of Romney's most famous portraits, and soon became London's biggest celebrity. So began Romney's lifelong obsession with her, sketching her nude and clothed in many poses that he later used to create paintings in her absence. Through the popularity of Romney's work and particularly of his striking-looking young model, Emma became well known in society circles, under the name of "Emma Hart". She was witty, intelligent, a quick learner, elegant and, as paintings of her attest, extremely beautiful. Romney was fascinated by her looks and ability to adapt to the ideals of the age. Romney and other artists painted her in many guises, foreshadowing her later "attitudes".
xxx/ellauri179.html on line 446: One of the Americans feinted and knocked his right side. He fell and looked up at Papa. They were in the shade of the building, but where he fell in the sun of the street, Papa's shadow covered him.
xxx/ellauri179.html on line 556: “Me too.” Nick Adams winked. It wasn't that he winked or what he said, but he looked bad. The shadows on his face looked bad and he smelled bad from all the smoke. Words sounded bad when they fell from his mouth. The band got louder. “An old prizefighter. Ole Anderson. I have to go to Fossalta di Piave tomorrow. He lives there.”
xxx/ellauri187.html on line 79: Rilke’s path was more circuitous. Born to a liberal family in Prague when Rodin was 35, the young Rilke was dressed as a girl by his mother and called “Sophie.” (His given name was actually René.) When he came of age, his parents sent him to a military academy in hopes that he might achieve the officer’s rank that eluded his father, but the students there saw him as “fragile, precocious and a moral scold”—qualities that linger with him throughout the book, until he emerges from Rodin’s shadow as a major writer.
xxx/ellauri193.html on line 620: The Days of His Grace: Grandiose, shadowy, fraught. Representative passage: “She turned quickly to the other and met his eyes, feeling a sudden fear of unwillingness—as though he were peering at her through the crack in the door, or through a keyhole. He’s trying to get at me through my eyes, she thought.” As far as one can grasp, given a translation that feels a little stumbly, I give this tone a seven.
xxx/ellauri200.html on line 616: free captives undermining shadowy bars, Vapaat vangit ryömien häkin aidan alta,
xxx/ellauri200.html on line 667: that quail in its shadow, and yet shut the gate; Jotka vapisee sen varjossa mut panee oven kii;
xxx/ellauri208.html on line 591: His achievements were cut short when he was fatally shot on September 6, 1901, by Leon Czolgosz, a second-generation Polish-American anarchist. McKinley died eight days later and was succeeded by Vice President Theodore Roosevelt. As an innovator of American interventionism and pro-business sentiment, McKinley is generally ranked above average. His popularity was soon overshadowed by Roosevelt (#26) and later on totally eclipsed by Trump (#45).
xxx/ellauri224.html on line 371: As Anthony Julius has demonstrated beyond a shadow of doubt, Eliot used language about Jews that was closely linked both to traditional antisemitic hate speech and to the tropes of the murderous antisemitism of his own time. It is hard to see how this can be reconciled to his Christianity, except because he saw diversity a
xxx/ellauri225.html on line 271: Several scholars have commented that Le Guin´s writing was influenced by Carl Jung, and specifically by the idea of Jungian archetypes. In particular, the shadow in A Wizard of Earthsea is seen as the Shadow archetype from Jungian psychology, representing Ged´s pride, fear, and desire for power. Le Guin discussed her interpretation of this archetype, and her interest in the dark and repressed parts of the psyche, in a 1974 lecture. She stated elsewhere that she had never read Jung before writing the first Earthsea books. Other archetypes, including the Mother, Animus, and Anima, have also been identified in Le Guin´s writing.
xxx/ellauri225.html on line 298: The first three Earthsea novels together follow Ged from youth to old age, and each of them also follow the coming of age of a different character. A Wizard of Earthsea focuses on Ged´s adolescence, while The Tombs of Atuan and The Farthest Shore explore that of Tenar and the prince Arren, respectively. A Wizard of Earthsea is frequently described as a Bildungsroman, in which Ged´s coming of age is intertwined with the physical journey he undertakes through the novel. To Mike Cadden the book was a convincing tale "to a reader as young and possibly as headstrong as Ged, and therefore sympathetic to him". Reviewers have described the ending of the novel, wherein Ged finally accepts the shadow as a part of himself, as a rite of passage. Scholar Jeanne Walker writes that the rite of passage at the end was an analogue for the entire plot of A Wizard of Earthsea, and that the plot itself plays the role of a rite of passage for an adolescent reader. Any fucking involved at all? What kind of coming of age would it be without some?
xxx/ellauri225.html on line 353: In his newest book, “Possessed by Memory: The Inward Light of Criticism,” Bloom promised to shake off the polemical battles that have shadowed him for years. He pledged to include never-revealed autobiographical snippets. He wanted to share with his readers his recent reevaluations of some of his most beloved writers. He only partially delivers.
xxx/ellauri235.html on line 573: Like other poets of the Archaic Age, he reveals a deep sense of the vicissitudes of life and yet, unlike them, he also articulates a passionate faith in what men can achieve by the grace of the gods, most famously expressed in his conclusion to one of his Victory Odes: Creatures of a day! What is a man? What is he not? A dream of a shadow Is our mortal being. But when there comes to men A gleam of splendour given of heaven, Then rests on them a light of glory And blessed are their days.
xxx/ellauri251.html on line 200: Fills the shadows and windy places Täyttää varjot ja tuulenpaikat
xxx/ellauri251.html on line 469: High up, the cloven shadow of either plume Ylhäällä sen töyhtöpäätä peltihattua,
xxx/ellauri251.html on line 533: Night, the shadow of light,
xxx/ellauri251.html on line 534: ⁠And life, the shadow of death.
xxx/ellauri251.html on line 606: Whom there thou knowest; for sharp mixed shadow and wind
xxx/ellauri251.html on line 1565: Who, seeing the light and shadow for the same,
xxx/ellauri251.html on line 2478: ⁠Nor fierce foreshadowings of a birth
xxx/ellauri251.html on line 2676: As with the shadow of shed blood; behold,
xxx/ellauri251.html on line 2950: When I move among shadows a shadow, and wail by
xxx/ellauri251.html on line 3126: ⁠Weaving shadow to cover us,
xxx/ellauri253.html on line 112: The U.S. shadow banking system (i.e., non-depository financial institutions such as investment banks) had grown to rival the depository system yet was not subject to the same regulatory oversight, making it vulnerable to a bank run. US mortgage-backed securities, which had risks that were hard to assess, were marketed around the world, as they offered higher yields than U.S. government bonds. Many of these securities were backed by subprime mortgages, which collapsed in value when the U.S. housing bubble burst during 2006 and homeowners began to default on their mortgage payments in large numbers starting in 2007.
xxx/ellauri253.html on line 114: The emergence of sub-prime loan losses in 2007 began the crisis and exposed other risky loans and over-inflated asset prices. With loan losses mounting and the fall of Lehman Brothers on September 15, 2008, a major panic broke out on the inter-bank loan market. There was the equivalent of a bank run on the shadow banking system, resulting in many large and well established investment banks and commercial banks in the United States and Europe suffering huge losses and even facing bankruptcy, resulting in massive public financial assistance (government bailouts).
xxx/ellauri292.html on line 573: shadows_of_the_Temple_of_Theseus%2C_Athens%2C_where_Greek_refugees_make_thier_%28sic%29_homes_LCCN2010650546.jpg/1024px-Tent_village_in_the_shadows_of_the_Temple_of_Theseus%2C_Athens%2C_where_Greek_refugees_make_thier_%28sic%29_homes_LCCN2010650546.jpg" />
xxx/ellauri295.html on line 690: Increasingly disillusioned by his close observation of communism in practice, Muggeridge decided to investigate reports of the famine in Ukraine by travelling there and to the Caucasus without first obtaining the permission of the Soviet authorities. His accounts helped to confirm the extent of a forced famine, which was politically unmotivated at the time. Muggeridge sacked The Pooh illustrator Shepard from Punch. Pooh was not Christopher Robin's Teddy but his own son's bear Growler. Eventually Shepard came to resent "that silly old bear" as he felt that the Pooh illustrations overshadowed his other work.
xxx/ellauri354.html on line 379: Tempus fugit [velut umbra]. (Time flees [like a shadow].)
xxx/ellauri354.html on line 385: Meam vide umbram, tuam videbis vitam. (Look at my shadow and you will see your life.)
xxx/ellauri354.html on line 389: [Pulvis et] umbra sumus. (We are [dust and] shadow.)
xxx/ellauri385.html on line 348: Leans on a shadowy staff—a staff of dreams. Nojaa varjosauvaan --- unelmiensa keppiin.
xxx/ellauri387.html on line 410:                       Those shadowy recollections,                       hämäristä muistoista,
xxx/ellauri420.html on line 291: But acedia doesn’t always present as a porn propensity. It can cast its toxic shadow in any number of ways.
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