ellauri002.html on line 1974: memory and desire, stirring

ellauri041.html on line 1834: memory and desire, stirring

ellauri062.html on line 618: Liber scriptus proferetur Ihminen, ken ikään lienet, Kirja tuodaan nähtäväxi Lo! the Ledger's leaves are stirring,
ellauri088.html on line 585: It was George’s straw hat that saved his life that day. He keeps that hat now (what is left of it), and, of a winter’s evening, when the pipes are lit and the boys are telling stretchers about the dangers they have passed through, George brings it down and shows it round, and the stirring tale is told anew, with fresh exaggerations every time.
ellauri131.html on line 1122: Life is stirring everywhere, Elämä on heräämässä kaikkialla
ellauri156.html on line 313: Let's pursue this matter a little more. (Oh lord, I feel the spirit stirring below my belt.) Bathsheba is bathing herself. (This is about the 4. time Bob invites us to picture this tender moment. There are not too many of them in the Bible, so let us savor it.) We tend to assume that this means she is disrobed, at least partially. I believe Bathsheba is bathing herself in some place normally used for such purposes. Only David, with his penthouse vantage, would be able to see her, and a whole lot of other folks if he chose. The poor do not have the same privacy privileges as the rich. I have seen any number of people bathing themselves on the sidewalks of India, because this is their home. The word for bathing employed here is often used to describe the washing of a guest's hands or feet and for the ceremonial washings of the priests. Abigail used this term when she spoke of washing the feet of David's servants (1 Samuel 25:41). Such washings could be done, with decency, without total privacy. We assume far too much if we assume Abigail is walking about unclothed, in full sight of onlookers.
ellauri160.html on line 217: English poets such as Maurice Hewlett, Rudyard Kipling, and Alfred Tennyson had made a particular kind of Victorian verse—stirring, pompous, propagandistic and popular. According to modernist scholar James Knapp, Pound rejected the idea of poetry as "versified moral essay"; he wanted to focus on the individual experience, the concrete rather than the abstract.
ellauri270.html on line 527: Alfred Lordi Tennysonin Enoch Arden oli toinen samanlainen joihkaus albumissa 52. Victorian verse—stirring, pompous, propagandistic and popular. Olikohan Eenokki sukua Elizabeth Ardenille jonka poskivoide pelasti Harryn kruununjalokivet naparetkellä?
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/ellauri129.html on line 662: With that, she did not go back to her former life, but became a national celebrity of sorts, publishing "an armload of books and criss-crossing the United States on a decades-long reform campaign", not only fighting for married women's rights and freedom of speech, but calling out against "the power of insane asylums". She became what some scholars call "a publicist and lobbyist for better insanity laws". As scholar Kathryn Burns-Howard has argued, Packard reinvented herself in this rôle, earning enough to support her children and even her estranged husband, from whom she remained separated for the rest of her life. Ultimately, moderate supporters of women's rights in the northern U.S. embraced her, weaving her story into arguments about slavery, framing her experience as a type of enslavement and even arguing in the midst of the Civil War that a county in the midst of freeing African-American slaves should do the same for others who suffered from abusive husbands. Some argue that she seemed oblivious to her racial prejudice in arguing that white women had a "moral and spiritual nature" and suffered more "spiritual agony" than formerly enslaved African-Americans. Even so, others say that her story provided "a stirring example of oppressed womanhood" that others did not.
xxx/ellauri129.html on line 666: Elizabeth realized how narrow her legal victory had been; while she had escaped confinement, it was largely a measure of luck. The underlying social principles which had led to her confinement still existed. She founded the Anti-Insane Asylum Society and published several books, including Marital Power Exemplified, or Three Years Imprisonment for Religious Belief (1864), Great Disclosure of Spiritual Wickedness in High Places (1865), The Mystic Key or the Asylum Secret Unlocked (1866), and The Prisoners' Hidden Life, Or Insane Asylums Unveiled (1868). In 1867, the State of Illinois passed a "Bill for the Protection of Personal Liberty" which guaranteed that all people accused of insanity, including wives, had the right to a public hearing. She also saw similar laws passed in three other states. Even so, she was strongly attacked by medical professionals and anonymous citizens, unlike others such as Dorothea Dix, with her former doctor from the Jacksonville Insane Asylum, Dr. McFarland, who privately called her "a sort of Joan D'Arc in the matter of stirring up the personal prejudices". As such, Elizabeth's work on this front was "broadly unappreciated" while she was alive. She only received broader recognition, starting in the 1930s, by a well-known historian of mental illness, Albert Deutsch, and again in the 1960s from those who were "attacking the medical model of insanity".
xxx/ellauri193.html on line 600: Well, first of all, everything can be exaggerated, so calm down a little, Karl Ragnar Gierow. But also there’s a tone here that doesn’t sit well with me. Certainly the literary world has a tendency to calcify—the people who have enough time to write books tend to be from the ­upper classes, so literature’s concerns and perspectives invariably get narrow without new blood. But those sidebar reassurances that working-class poets aren’t here to ravage and plunder seem nervous and uptight, and not really reassuring to boot. It seems to me that we want a little ravagement and plunder in our literary traditions. Why else would we welcome a stirring new voice, if it didn’t stir us up a little? And if it doesn’t stir us up, is it really a new voice, even if it comes from a place most of us haven’t visited? “To determine an author and his work against the background of his social origin and political environment is, at present, good form,” the speech continues, and that’s OK as far as it goes. But if you’re going to decide that two authors are tied for literary merit, surely we can find some criterion besides their socioeconomic origin stories.
xxx/ellauri410.html on line 547: Eliot also juxtaposes religious imagery with mundane details, such as Sweeney stirring his bathwater. This juxtaposition highlights the disconnect between religious rituals and everyday life, emphasizing the poem's central theme of spiritual decay.
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