ellauri014.html on line 1724: And maybe a better one. I am perhaps not the best judge, but it seems to me the gritty upward-way poem is better than the floral lift to heaven. Bryant, however, is a celebrated poet, and Montgomery merely an interesting poet. My personal connection to the upward way and my own struggles to work out my vocation might bias me.
ellauri014.html on line 1728: But granted these are different poems, we are left with the curious problem of where Montgomery found the Alpine Path poem. Surprisingly, after reading a dozen or so academic articles on Emily of New Moon and Montgomery’s vocation as an author–as well as a couple of good biographies–scholars have not pinned down the reference. After an extensive internet search, it seems to me that blogger Faith Elizabeth Hough may have begun to work it out. She includes the longer version of the poem here:
ellauri033.html on line 447: L’auteur des Chansons joyeuses était alors amateur de vins et très libre sur le plan des mœurs. Il faut signaler une amitié particulière peu connue qui avait uni Maurice Bouchor et Paul Bourget. Ce dernier écrivait à Bouchor quand il avait 15 ans des lettres enflammées auxquelles l’adolescent n’était pas inseänsible. Bourget à cette époque était son « précepteur ». Il faut savoir que Paul Bourget est présent dans l’Album zutique et qu’il fréquentait le groupe des Vivants auquel on l’associe à tort. Il semble que Bouchor n’ait pas craint dans sa première jeunesse de passer pour un homosexuel, peut-être par provocation.
ellauri055.html on line 136: Les temples érigés par la communauté sont appelés « Maison d’adoration », arabe : مشرق اﻻذكار (Mašriq al-Aḏkār) (« L’Orient des invocations» ou « lieu où se lève à l’aube la mention du nom de Dieu »).
ellauri061.html on line 437: card, or equivocation will undo us. By the Lord, HAMLET NO jo on pelle! Täytyy olla tarkkana tai se huijaa mennen tullen.
ellauri062.html on line 610: Tuba mirum spargens sonum kaikuu kaikkeen maailmaan, Ihme tuuba kylvää ääntä Now the trumpet's invocation
ellauri077.html on line 803: the "best people" from the gentlemen´s clubs, and all the frantic fascist captains, united in common hatred of Socialism and bestial horror at the rising tide of the mass revolutionary movement, have turned to acts of provocation, to foul incendiarism, to medieval legends of poisoned wells, to legalize their own destruction of proletarian organizations, and rouse the agitated petty-bourgeoise to chauvinistic fervor on behalf of the fight against the revolutionary way out of the crisis.
ellauri095.html on line 512: The Wreck of the Deutschland became the occasion for Hopkins’s incarnation as a poet in his own right. He broke with the Keatsian wordpainting style with which he began, replacing his initial prolixity, stasis, and lack of construction with a concise, dramatic unity. He rejected his original attraction to Keats’s sensual aestheticism for a clearly moral, indeed a didactic, rhetoric. He saw nature not only as a pleasant spectacle as Keats had; he also confronted its seemingly infinite destructiveness as few before or after him have done. In this shipwreck he perceived the possibility of a theodicy, a vindication of God’s justice which would counter the growing sense of the disappearance of God among the Victorians. For Hopkins, therefore, seeing more clearly than ever before the proselytic possibilities of art, his rector’s suggestion that someone write a poem about the wreck became the theological sanction he needed to begin reconciling his religious and poetic vocations.
ellauri106.html on line 367: Documents from the Kerner Commission investigation show that he completed his speech at 10 pm July 24, then walked a woman home and was allegedly shot by a deputy sheriff without provocation.
ellauri111.html on line 261: “I suppose you know that jury trials were still quite an innovation in my time in Russia, so it’s no surprise that they produced some odd results. A clever lawyer could easily persuade a jury one way or another. Even when all the facts pointed to the guilt of the accused, even when it was admitted that, indeed, such-and-such a woman had attacked her lover’s wife with a razor with the intention of killing her, such-and-such a father had so violently beaten his seven-year old daughter with birch rods that even the neighbours were terrified by her screams, or such-and-such parents had treated their children like animals, keeping them in filthy conditions, and beating them with leather straps, again and again—each time our poor soft-hearted jurors concluded ‘Not guilty!’ Can you imagine? Of course, there is always an explanation, there are always attenuating circumstances, there can even be provocations, and the letter of the law may tell us this is not torture but simply punishment, the kind of punishment that, in those days, all good middle-class parents thought it right to mete out so as to give their children a sense of duty. The facts. The facts are the facts, but the truth once uttered is a lie, and even the facts can be put together in such a way as to turn even torture into well-meaning parental discipline.”
ellauri145.html on line 217: « S´il va haïr le général Aupick, c´est sans doute que celui-ci s´opposera à sa vocation. C´est surtout parce que son beau-père lui prenait une partie de l´affection de sa mère. […] Une seule personne a réellement compté dans la vie de Charles Baudelaire : sa mère. »
ellauri171.html on line 693: Another lesson is that the Levite was supposedly a godly man and priest. The account does not tell us what ultimately happened to him, but Judges 20:4-5 seems to imply that he lied about his actions in order to save himself. Scripture records what appears to be deception. It is not enough for someone to claim to a godly person. It appears that Scripture records he was not fit for the priesthood. Being a pastor or a priest is not a “job” or “vocation.” Some have said that character does not matter. It is what one accomplishes. But Scripture repeatedly demonstrates that God uses righteous ministers! This man’s behavior demonstrated he was not qualified to be a priest.
ellauri210.html on line 888: Ce cadavre exquis, écrit à six mains, date sans doute de 1926. On le suppose rédigé lors d'une nuit arrosée au Café de Madrid à Guéthary. Dédié au « Chinois Inconnu », ce court texte multiplie provocations et impertinences diverses.
ellauri226.html on line 390: enroll in a vocational school of petty crime and harassment, though experienced members of his family signaled that it was in fact a private school.
ellauri236.html on line 202: In a book like No Orchids one is not, as in the old-style crime story, simply escaping from dull reality into an imaginary world of action. One's escape is essentially into cruelty and sexual perversion. No Orchids is aimed at the power-instinct, which Raffles or the Sherlock Holmes stories are not. At the same time the English attitude towards crime is not so superior to the American as I may have seemed to imply. It too is mixed up with power-worship, and has become more noticeably so in the last twenty years. A writer who is worth examining is Edgar Wallace, especially in such typical books as The Orator and the Mr. J. G. Reeder stories. Wallace was one of the first crime-story writers to break away from the old tradition of the private detective and make his central figure a Scotland Yard official. Sherlock Holmes is an amateur, solving his problems without the help and even, in the earlier stories, against the opposition of the police. Moreover, like Lupin, he is essentially an intellectual, even a scientist. He reasons logically from observed fact, and his intellectuality is constantly contrasted with the routine methods of the police. Wallace objected strongly to this slur, as he considered it, on Scotland Yard, and in several newspaper articles he went out of his way to denounce Holmes by name. His own ideal was the detective-inspector who catches criminals not because he is intellectually brilliant but because he is part of an all-powerful organization. Hence the curious fact that in Wallace's most characteristic stories the ‘clue’ and the ‘deduction’ play no part. The criminal is always defeated by an incredible coincidence, or because in some unexplained manner the police know all about the crime beforehand. The tone of the stories makes it quite clear that Wallace's admiration for the police is pure bully-worship. A Scotland Yard detective is the most powerful kind of being that he can imagine, while the criminal figures in his mind as an outlaw against whom anything is permissible, like the condemned slaves in the Roman arena. His policemen behave much more brutally than British policemen do in real life — they hit people with out provocation, fire revolvers past their ears to terrify them and so on — and some of the stories exhibit a fearful intellectual sadism. (For instance, Wallace likes to arrange things so that the villain is hanged on the same day as the heroine is married.) But it is sadism after the English fashion: that is to say, it is unconscious, there is not overtly any sex in it, and it keeps within the bounds of the law. The British public tolerates a harsh criminal law and gets a kick out of monstrously unfair murder trials: but still that is better, on any account, than tolerating or admiring crime. If one must worship a bully, it is better that he should be a policeman than a gangster. Wallace is still governed to some extent by the concept of ‘not done’. In No Orchids anything is ‘done’ so long as it leads on to power. All the barriers are down, all the motives are out in the open. Chase is a worse symptom than Wallace, to the extent that all-in wrestling is worse than boxing, or Fascism is worse than capitalist democracy.
ellauri247.html on line 261: "The learned Smelfungus travelled from Boulogne to Paris, from Paris to Rome, and so on, but he set out with the spleen and jaundice, and every object he passed by was discoloured or distorted. He wrote an account of them, but 'twas nothing but the account of his miserable feelings. I met Smelfungus in the grand portico of the Pantheon—he was just coming out of it. ''Tis nothing but a huge cockpit,' said he—'I wish you had said nothing worse of the Venus de Medici,' replied I—for in passing through Florence, I had heard he had fallen foul upon the goddess, and used her worse than a common strumpet, without the least provocation in nature. I popp'd upon Smelfungus again at Turin, in his return home, and a sad tale of sorrowful adventures had he to tell, 'wherein he spoke of moving accidents by flood and field, and of the cannibals which each other eat, the Anthropophagi'; he had been flayed alive, and bedevil'd, and used worse than St. Bartholomew, at every stage he had come at. 'I'll tell it,' cried Smelfungus, 'to the world.' 'You had better tell it,' said I, 'to your physician.'" (Sterne)
ellauri266.html on line 333: For fertilization to take place, certain interindividual processes must take place: male and female must get each other´s attention, stimulate each other, secure each other´s cooperation or at least compliance, until the female (or male) finally assumes the appropriate position for receiving the sperm. This known as courtship. Mm, I´m getting the hots by just saying this. General semantics must surely have something to contribute to human sexuality. Mobility increases intelligence, that must be why the in-out moving human male is more intelligent than the female. The adult male is capable of being sexually aroused with or without provocation at practically any time. No wonder females prefer smelly company to no company at all. Except in a KZ lager they tend to lose interest, says Morris Gombinder in Shadows on the Hudson. Desmond Morris has an ingenious argument about the relation of a man´s sexuality to his way of life. "The naked ape is the sexiest man alive!", he says, and means it. "In baboons", he says, "the time from mounting to ejaculation is max 8 seconds, a goldfish´s attention span. Our ladies would never be satisfied with that!" Specialized organs such as lips, ear-lobes, nipples, breasts and genitals are richly endowed with things to lick and suck. Sorry folks, now I just have to take a break for a quick wank, I´m really gettting uncomfortably erect. Thank you. The sexually attractive parts are predominantly at the front, except the arse. Face-to-face sex is personalized sex, said the missionary. From the back you don´t really know who you are interacting with.
ellauri321.html on line 220: Set in the year before the Wall Street crash, Juan in America is a classic evocation of the final mania of prohibition, as seen through equally maniacal British eyes. The character Eric Linklater devised to be his unreliable explorer was one capable of absorbing the enormity of the American experience without being overwhelmed by its incongruities. A blithe, bastard descendent of Byron(tm)s Don Juan, Linklater´s Juan is an anti-hero with a taste for the grotesque and the ridiculous, at once both dirty and deity whose response when faced either with sudden catastrophe or miraculous survival is simply to laugh. A novel in the mode of the picaresque, this is a story of erotic discovery in the sense, as Juan puts it, that, eh, your trousers hide not only your willy but your kinship to the clown. A nation emerging as a great power is exalting in absurdist energies. In its last spasms before the great depression, America is revealed through a series of unlikely accidents as Juan stumbles from state to state, somehow evading consequences as he goes. On his first day, he falls for the daughter of a gangster, witnesses a murder in a speakeasy and watches a woman leap to her death in a New York street. He thrills to the bizarreness of each spectacle and moves on to the next in a galloping mood that is part medieval romance, part running commentary on what was still, in the 1920s, the new world.
ellauri368.html on line 66: Among the Jews of the Slavonic countries "maskil" usually denotes a self-taught Hebrew scholar with an imperfect knowledge of a living language (usually German), who represents the love of learning and the striving for culture awakened by Mendelssohn and his disciples; i.e., an adherent or follower of the Haskalah movement. He is "by force of circumstances detained on the path over which the Jews of western Europe swiftly passed from rabbinical lore to European culture" and to emancipation, and "his strivings and short-comings exemplify the unfulfilled hopes and the disappointments of Russian civilization." The Maskilim are mostly teachers and writers; they taught a part of the young generation of Russian Jewry to read Hebrew and have created the great Neo-Hebrew literature which is the monument of Haskalah. Although Haskalah has now been flourishing in Russia for three generations, the class of Maskilim does not reproduce itself. The Maskilim of each generation are recruited from the ranks of the Orthodox Talmudists, while the children of Maskilim very seldom follow in the footsteps of their fathers. This is probably due to the fact that the Maskil who breaks away from strictly conservative Judaism in Russia, but does not succeed in becoming thoroughly assimilated, finds that his material conditions have not been improved by the change, and, while continuing to cleave to Haskalah for its own sake, he does not permit his children to share his fate. The quarrels between the Maskilim and the Orthodox, especially in the smaller communities, are becoming less frequent. In the last few years the Zionist movement has contributed to bring the Maskilim, who joined it almost to a man, nearer to the other classes of Jews who became interested in that movement. The numerous Maskilim who emigrated to the United States, especially after the great influx of Russian immigrants, generally continued to follow their old vocation of teaching and writing Hebrew, while some contributed to the Yiddish periodicals. Many of those who went thither in their youth entered the learned professions. See Literature, Modern Hebrew. (Source: Jewish Dictionary)
ellauri389.html on line 444: In 1614 King James I refused Donne’s final attempt to secure a post at court and said that he would appoint him to nothing outside the church. By this time Donne himself had come to believe he had a religious vocation, and he finally agreed to take holy orders.
xxx/ellauri059.html on line 380: In The Merchant of Venice Shakespeare is decidedly not anti-Semitic. It is just the opposite. We are definitely attracted to the Christians and we can see how horrific Shylock’s intention is but that is outweighed by the provocation he is subjected to: his social shunning, attempts to exploit him, daily insults about him and his religion, and the dramatic acts of the abduction of his daughter and the stealing of his property.
xxx/ellauri103.html on line 216: Mine is a disrespectful vocation by its nature – prying, voyeuristic, kleptomaniacal, and presumptuous. And I love it! Those adjectives fit me to a T! When Truman Capote wrote from the perspective of condemned murderers from a lower economic class than his own, he had some gall. After that, he had some cash. And his economic class went way up. What did the murderers get for it? Undying fame.
xxx/ellauri121.html on line 306: Atwood’s career as a graduate student stretched, with many interruptions, for half a dozen years. During that period she had an affair with Quebec poet D. G. Jones— which Sullivan mentions so obliquely that it is over before the reader realizes it has begun. She had broken it off, as a result of the stresses caused by his workload. She subsequently courted Jim Polk (an American writer she had met at Harvard) and, in January 1967, she decided to marry him "after five years of equivocation". She also worked at odd jobs including market researcher like Fred Waterford, and despite never finishing her PhD, began a university teaching career that would take her to cities across Canada. At 27, she became the youngest person to ever win the Governor General’s Award with her 1967 poetry collection, The Circle Game. Siitä nousi sille aika lailla kusi päähän.
xxx/ellauri139.html on line 1147: Manfred est un drame en vers de George Gordon Byron, dit Lord Byron, publié en 1817. Bourrelé de remords après avoir tué celle qu'il aimait, Manfred vit seul comme un maudit au cœur des Alpes. Il invoque les esprits de l'univers, et ceux-ci lui offrent tout, excepté la seule chose qu'il désire, l'oubli. Il essaie alors, mais en vain, de se jeter du haut d'un pic élevé. Il visite ensuite la demeure d'Ahriam, mais refuse de se soumettre aux esprits du mal, leur enjoignant d'évoquer les morts. Enfin lui apparaît Astarté, la femme qu'il a aimée puis tuée par son étreinte (« My embrace was fatal... I loved her and destroy'd her »). Répondant à son invocation, Astarté lui annonce sa mort pour le lendemain. Au moment prédit apparaissent des démons pour s'emparer de lui, mais Manfred leur dénie tout pouvoir sur sa personne. Pourtant, à peine sont-ils apparus qu'il meurt. La situation de Manfred deviendra l'un des poncifs favoris composant le portrait de l'homme fatal du romantisme. Cette pièce s'inspire, pense-t-on[Qui ?], dans son plan, du Faust de Goethe et selon certains, contiendrait une allusion du poète à sa demi-sœur Augusta Leigh. Sitäkin se dodennäköisesti bylsähti.
xxx/ellauri178.html on line 153: The trouble with reviewing The Ghost Writer a few weeks late is that Roth has already explained it for us. He is ever explaining. Like David Susskind, he can’t shut up. The Ghost Writer, he told readers of The New York Times, “is about the surprises that the vocation of writing brings,” just as My Life as a Man “is about the surprises that manhood brings” and The Professor of Desire is “about the surprises that desire brings.”
xxx/ellauri179.html on line 281: By the time he was on to his most open-minded wife, Mary, his final spouse, they were exchanging letters about hair that were, Dearborn says, ‘frankly pornographic’, while indulging in sexual role-swapping in bed. Of course, Hemingway — who won the Nobel Prize for Literature in 1954 — wouldn’t be the first genius to have a somewhat less impressive private life. The real Hemingway was self-pitying, self-glorifying and thin-skinned, ready to turn viciously on friends on the slightest provocation. Kake kavereineen tossa Ford Fiesta kirjassa vaikutti täys paskiaisilta ihan miehissä. Mitääntekemättömiä renttuja.
xxx/ellauri187.html on line 85: Another was Clara Westhoff, the sculptor whom Rilke would later marry and repeatedly abandon on his vocational wanderings around Europe.
xxx/ellauri187.html on line 90: Few of these bullshit artists and temporary thinkers were as staunchly individualist as Rodin and Rilke. Their kinship, for better and worse, relied on a shared belief about the vocation of the artist—that it was supreme: no relationship, duty, or family obligation should get in the way of his work.
xxx/ellauri193.html on line 182: "It is understandable and human that one would be angry, disappointed and hurt if you found out your partner of 12 years had been unfaithful. There was also a measure of provocation from the deceased when she threw a plate at the accused."
xxx/ellauri193.html on line 210: In the United States, claims of "crimes of passion" have been traditionally associated with the defenses of temporary insanity or provocation.
xxx/ellauri202.html on line 196: Roger Martin du Gard (23 March 1881 – 22 August 1958) was a French novelist, winner of the 1937 Nobel Prize for Literature. Martin du Gard, homosexual by inclination and avocation, was miserably married to a devout Catholic who despised all his literary friends. Martin du Gard is much impressed with the fine appearance of the German race. The handsome boys and beautiful young girls are, to him, a reincarnation of ancient Greece. Martin du Gard reported back to André Gide on the wonders and delights of Berlin, where he had found the young involved in ‘natural, gratuitous pleasures, sport, bathing, free love, games, [and] a truly pagan, Dionysiac freedom’.
xxx/ellauri202.html on line 210: Il découvra sa vocation d'écrivain en se liant à un jeune garçon de deux ans son aîné, Jean Werhlé, pendant l'été qu'il passe à Maisons-Laffitte en 1891. Il obtient en 1898 son baccalauréat, dans la série Philosophie, avec mention passable, comme Max Roth. Sankarihahmo kääntyy takaisin kadotuxen tieltä fideismiin: älä järkeile, seuraa sydäntäsi vaan. Historiquement, les philosophes associés au fidéisme sont Søren Kierkegaard, Blaise Pascal, William James et Ludwig Wittgenstein.
xxx/ellauri225.html on line 257: Le Guin refused a Nebula Award for her story "The Diary of the Rose" in 1977, in protest at the Science Fiction Writers of America's revocation of Stanisław Lem's membership. Le Guin attributed the revocation to Lem's criticism of American science fiction and willingness to live in the Eastern Bloc, and said she felt reluctant to receive an award "for a story about political intolerance from a group that had just displayed political intolerance".
xxx/ellauri225.html on line 414: Ja sitten oli tää homosexuaalisuus. As a boy, he had a sexual relationship with a man. He associated his sexuality with his vocation as a poet. Raised in the Christian Science tradition of his mother, he never ceased to view himself as a social pariah. However, as poems such as "Repose of Rivers" make clear, he felt that this sense of alienation was necessary in order for him to attain the visionary insight that formed the basis for his poetic work.
xxx/ellauri252.html on line 526: The second reason is that China, without provocation, attacked and killed *Americans*!. The Korean War was a military operation to ensure the sovereignty of South Korea. It was not an operation to fight Communism or kill Communists.
xxx/ellauri261.html on line 458: As the nineteenth becomes the 20th century, all of New York City is excited because widowed but brassy Dolly Gallagher Levi is in town ("Call on Dolly"). Dolly makes a living through what she calls "meddling" – matchmaking and numerous sidelines, including dance instruction and mandolin lessons ("I Put My Hand In"). She is currently seeking a wife for grumpy Horace Vandergelder, the well-known half-a-millionaire, but it becomes clear that Dolly intends to marry Horace herself. Ambrose Kemper, a young artist, wants to marry Horace's weepy niece Ermengarde, but Horace opposes this because Ambrose's vocation does not guarantee a steady living. Ambrose enlists Dolly's help, and they travel to Yonkers, New York to visit Horace, who is a prominent citizen there and owns Vandergelder's Hay and Feed.
xxx/ellauri387.html on line 356:                       As if his whole vocation                       kuin kaikki sen kyytiläiset
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