ellauri014.html on line 1848: That slumber in its bosom.—Take the wings
ellauri051.html on line 1027: 439 Earth of the slumbering and liquid trees! 439 Nukkuvien ja nestemäisten puiden maa!
ellauri051.html on line 1566: 961 Give me a little time beyond my cuff'd head, slumbers, dreams, gaping, 961 Anna minulle vähän aikaa mansetin pään yli, uni, unelma, ammottava,
ellauri140.html on line 771: And more, to lulle him in his slumber soft,° Eikä siinä kaikki! sitä nukuttamaan
ellauri143.html on line 559: Death is sinking into slumbers deep;

ellauri160.html on line 436: Sun to his slumber, shadows o’er all the ocean, Päivä mailleen, varjoisaxi koko meri,
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?
ellauri398.html on line 1277: His next greatest life ambition is to see as many lukewarm modern-day Laodicean disciples of Yeshua/Jesus awake from their spiritual slumber and to fall in love with Yeshua the Messiah and to love and serve him for the rest of their lives. Lastly, Nathan is doggedly determined and passionate to confront spiritual darkness and to see the kingdom of evil led by Satan the devil crushed and defeated and the spiritual captives set free in the name of and for the glory of Yeshua the Messiah! Amein.
xxx/ellauri127.html on line 826: And there we slumbered on the moss, Ja me nukuxittiin sammaleella,
xxx/ellauri137.html on line 568: As when the rising sun revives from slumber,
xxx/ellauri139.html on line 649: To wake into a slumberous tenderness; Kuunteli hengitystä, koski olkapäitä.
xxx/ellauri235.html on line 607: Quench'd in dark clouds of slumber lie Sammutettu tummissa unen pilvissä
xxx/ellauri251.html on line 1815: And good for slumber, and every holier herb,
xxx/ellauri482.html on line 470: Tennysonin pelle sonetti Krakenista (< kroken 'koukku') kokoelmassa Poems, Chiefly Lyrical kuvaa ällöä jättimustekalaa uinumassa meren pohjassa. Isobel Armstrong read the poem politically, seeing the Kraken as representing the "slumbering political might of the working classes." Isobel Armstrong, FBA (born 1937) is a British academic. She is professor emerita of English at Birkbeck, University of London and a senior research fellow of the Institute of English Studies at the University of London. She is a fellow of the British Academy. She has been a visiting scholar at many institutions, including at Princeton University in 2016-2017. She is a jolly good fellow. She is a poet. Isabel rescued Victorian poetry from its longstanding sepia image. For all its integrity, Armstrong's synthetic synopsis of Victorian poetry is still very much a piece of shit. Yhtään Isobelin runoa ei löydy netistä. Lähtiessään eläkkeelle Birkbeckistä se luki eeppisen runon she had composed for the occasion: 'The School of English Rap'.
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