"
Sunday, December 2, 2007
Hudibras: A Poem By Samuel Butler
Hudibras: A Poem By Samuel Butler: "By all these arts and many more H had practis d long and much before Our state artificer foresaw Which way the world began to draw For as old sinners have all points O th compass in their bones and joints Can by their pangs and aches find All turns and changes of the wind And better than by Napier's bones Feel in their own the age of moons So guilty sinners in a state Can by their crimes prognosticate And in their consciences feel pain Some days before a show r of rain He therefore wisely cast about All ways he could t insure his throat "
A Complete Collection of State Trials and Proceedings for High Treason and ... By Thomas Bayly Howell, William Cobbett, David Jardine
A Complete Collection of State Trials and Proceedings for High Treason and ... By Thomas Bayly Howell, William Cobbett, David Jardine: "times Locke was probably caught by his splendid qualities his courage his openness his party zeal his eloquence his fair dealing with his friends aivd his superiority to vulgar corruption Locke's partiality might make him on the other hand blind to the indifference with which he Shaftesbury espoused either monarchical arbitrary or republican principles as best suited his ambition but could it make him blind to tlie relentless cruelty with which he persecuted the papists in the affair of the popish plot merely as it should seem because it suited the purposes of the party with which he was then engaged You know that some of the imputations against him are certainly false the shutting up the Exchequer for instance But the two great blots of sitting on the Regicides and his conduct m the popish plot can never be wiped off The second Dutch war is a bad business in which he engaged heartily and in which notwithstanding all his apologists say he would have persevered if he had Dot found the was him "
A Complete Collection of State Trials and Proceedings for High Treason and ... By Thomas Bayly Howell, William Cobbett, David Jardine
A Complete Collection of State Trials and Proceedings for High Treason and ... By Thomas Bayly Howell, William Cobbett, David Jardine: "care Blown like a pigmy by the winds to war A beardless chief a rebel ere a man So young his hatred to his prince begun Next tb how wildly will ambition steer A vermin wriggling in th usurper's ear Bart ring his venal wit for sums of gold He cast himself into tbe saint like mould Gronn d sigh d and pray d while godliness was Tbe loudest bagpipe of the squeaking train But as tis hard to cheat a juggler's eyes His open lewdness he could ne er disguise There split the taint for hypocritic zeal Allows no sins but those it caa conceal gain "
Saturday, December 1, 2007
Feminism and Women's Studies: Memoir of Aphra Behn
Feminism and Women's Studies: Memoir of Aphra Behn: "From 1678 to 1683 were years of the keenest political excitement and unrest. Fomented to frenzy by the murderous villainies of Oates and his accomplices, aggravated by the traitrous ambition and rascalities of Shaftesbury, by the deceit and weakness of Monmouth, and the open disloyalty of the Whiggish crew, party politics and controversy waxed hotter and fiercer until riots were common and a revolution seemed imminent. Fortunately an appeal in a royal declaration to the justice of the nation at large allayed the storm, and an overwhelming outburst of genuine enthusiasm ensued. Albeit the bill against him was thrown out with an 'ignoramus' by a packed jury 24 November, 1681, a year later, 28 November, 1682, Shaftesbury found it expedient to escape to Holland. Monmouth, who had been making a regal progress through the country, was arrested. Shortly after he was bailed out by his political friends, but he presently fled in terror lest he should pay the penalty of his follies and crimes, inasmuch as a true bill for high treason had been found against him. It was natural that at such a crisis the stage and satire (both prose and rhyme), should become impregnated with party feeling; and the Tory poets, with glorious John Dryden at their head, unmercifully pilloried their adversaries. In 1682 Mrs. Behn prod"
The Imperial Bible-dictionary By Patrick Fairbairn
The Imperial Bible-dictionary By Patrick Fairbairn: "to his own religious position the promise extended only to the fourth generation 2Ki níi so And before that term was expired his house had in turn become the subject of severe threatening and had to face the prospect of an exterminating doom По it In his cas as in the case of Jeroboam the worldly policy adopt utterly failed to secure its object The name of Jehu it is said occurs in an inscription on an obelisk discovered in the north west palace of Ximroud which has been interpreted thus Jehu the eon of Khumri supposed to be for Omri and taking the house of Jehu as successor to the house Omri Lajard NinevohaudBabrlon p ei3 It may be so but it certainly does not wear a very natural appearance nor does Scripture give indication of any ultimate connection at that time with the Assyrian empire "
Cowper's Milton, in Four Volumes - Google Book Search
Cowper's Milton, in Four Volumes - Google Book Search: "when the superiour Fiend Was moving toward the shore; his ponderous shield, Ethereal temper, massy, large and round, Behind him cast; the broad circumference... 731 books (1796-2007) Page 30 Sheer o'er the crystal battlements ; from morn To noon he fell, from noon to dewy eve, A summer's day ; and with the setting sun Dropt from the zenith... 694 books (1710-2007) Page 130 conversing I forget all time; All seasons, and their change, all please alike. Sweet is the breath of Morn, her rising sweet, 'With charm of earliest birds... 853 books (1795-2007) more » Page 34 by Chaos, the Power of that place, to the sight of this new world which he sought. PARADISE LOST. BOOK II. HIGH on a throne of royal state, which far Outshone... 856 books (1745-2007) Page 67 And time, and place, are lost; where eldest Night And Chaos, ancestors of Nature, hold Eternal an-archy, amidst the noise Of endless wars, and by confusion... 509 books (1710-2007) Page 22 Seraphic arms and trophies ; all the while Sonorous metal blowing martial sounds; At which the universal host upsent A shout, that"
that rich soil best deserve precious bane - Google Search
that rich soil best deserve precious bane - Google Search: "Let none admire That riches grow in hell; that soil may best Deserve the precious bane."
Byron, George Gordon Byron, Baron : Lord Byron's Don Juan
Byron, George Gordon Byron, Baron : Lord Byron's Don Juan: "Catastrophe, Cross-Cultural Issues, Death and Dying, Family Relationships, History of Medicine, Humor and Illness/Disability, Literary Theory, Love, Mother-Son Relationship, Rebellion, Religion, Sexuality, Society, Survival Summary The story itself commences after the vituperative dedication to Robert Southey and several stanzas mocking contemporary heroes, with Don Juan's birth in Seville to Donna Inez and Don José. The adventures begin with his affair with Donna Julia, his mother's best friend. Donna Julia's husband, Don Alfonso discovers the secret romance, and Don Juan is sent to Cadiz. A shipwreck along the way sees him stranded, the lone survivor; there he meets a pirate's daughter, Haidée. Expelled from this paradise by Haidée's father, the pirate Lambro, he is captured, and sold into slavery. Gulbayaz, one of the Sultan's harem, has him purchased and smuggled into her company dressed as a girl; after he spends the night in the bed of one of her courtesans, Gulbayaz threatens both with death. When next we see Don Juan, he has escaped. He joins in the Russian attack on Ismail, where he fights valiantly and rescues Leila, a Muslim child. They are taken to St Petersburg, where he impresses Catherine The Great and joins her entourage. Due to illness, he is sent to London, whe"
Friday, November 30, 2007
Sunday, March 4, 2007
Untitled
Answerable Style: Essays on Paradise Lost - Questia Online Library Annotated
- pastoral passage Bk IV (2/4)
- post by singa1
call," could not be Adam's. It is her voice -- assumed, projected, and heightened by the tempter who is external, but who cannot effectively tempt except internally. The modest excitement of rhythm and verbal sensuousness in Eve's praise to Adam of the order of nature becomes here a celebration of the secret manhidden parts of nature. What was potential in the earlier passage, and strongly intimated by her abrupt and curious question, here becomes explicit -- an answer that emerges in distorting preoccupation, that breaks the order and the place of self in that order.
now is the pleasant time,
The cool, the silent, save where silence yields
To the night-warbling Bird, that now awake
Tunes sweetest his love-labor'd song; now reignes
Full Orb'd the Moon, and with more pleasing light
Shadowie sets off the face of things; in vain,
If none regard; Heav'n wakes with all his eyes,
Whom to behold but thee, Natures desire,
In whose sight all things joy, with ravishment
Attracted by thy beauty still to gaze. (V, 38ff)
In this invitation to the "walk by Moon" the solemn bird of night now sings a "love-labor'd song" -- as in the poetry of the fallen world. The light of the moon is now beautiful in a sophisticated way, setting off the face of things by shadow -- a notion more proper to a world where good is known by evil. It is related to the illusion that Mr. Eliot, also working from a concept of timeless order, in "Burnt Norton" ascribes to daylight:
Investing form with lucid stillness
Turning shadow into transient beauty
With slow rotation suggesting permanence.
The answer to the charming variety of moonlight is in the hymn of the next morning: "let your ceaseless change / Varie to our great Maker still new praise." But all of this is no more than the alluring threshold of temptation, the initial titillating satisfaction of sense that vaguely promises what the will perverting itself really wants. The answer to Eve's abrupt question about the beauty of night comes in the guise of an answer (an answer to the
-87-
wills, Night bids us rest." What he bids, Eve"with perfet beauty adornd" obeys unargued, accepting God's law from him. She presents her own praise of the order of nature; it is a prettier poem than Adam's, more graceful and more sensuous, turning in lovely circle about Adam, who is the center giving the order its value:
With thee conversing I forget all time,
All seasons and thir change, all please alike.
Sweet is the breath of morn, her rising sweet,
With charm of earliest Birds; pleasant the Sun
When first on this delightful Land he spreads
His orient Beams, on herb, tree, fruit, and flour,
Glistring with dew; fragrant the fertil earth
After soft showers; and sweet the coming on
Of grateful Eevning milde, then silent Night
With this her solemn Bird and this fair Moon,
And these the Gemms of Heav'n, her starrie train:
But neither breath of Morn when she ascends
With charm of earliest Birds, nor rising Sun
On this delightful land, nor herb, fruit, floure,
Glistring with dew, nor fragrance after showers,
Nor grateful Eevning mild, nor silent Night,
With this her solemn Bird, nor walk by Moon,
Or glittering Starr-light without thee is sweet.
(IV, 639ff)
Then she breaks off with a strangely dissonant abruptness:
But wherfore all night long shine these, for whom
This glorious sight, when sleep hath shut all eyes?
(IV, 657f)
Adam lectures on order again, on the relationship between created and Creator. Man is not the center. His verse rises in pitch to praise, not the things, but their relationship to the Creator. Then they approach the described natural beauty of their "blissful Bower"; negative comparisons from myth ("though but feignd") and time apply their pressure to the moment, chief among them the lovely sad anticipation of Pandora. Finally they make their nocturnal devotions in praise of the Creator of nature.
The voice that Eve heard, of which she says, "I rose as at thy
-86-
call," could not be Adam's. It is her voice -- assumed, projected, and heightened by the tempter who is external, but who cannot effectively tempt except internally. The modest excitement of rhythm and verbal sensuousness in Eve's praise to Adam of the order of nature becomes here a celebration of the secret manhidden parts of nature. What was potential in the earlier passage, and strongly intimated by her abrupt and curious question, here becomes explicit -- an answer that emerges in distorting preoccupation, that breaks the order and the place of self in that order.
now is the pleasant time,
The cool, the silent, save where silence yields
To the night-warbling Bird, that now awake
Tunes sweetest his love-labor'd song; now reignes
Full Orb'd the Moon, and with more pleasing light
Shadowie sets off the face of things; in vain,
If none regard; Heav'n wakes with all his eyes,
Whom to behold but thee, Natures desire,
In whose sight all things joy, with ravishment
Attracted by thy beauty still to gaze. (V, 38ff)
In this invitation to the "walk by Moon" the solemn bird of night now sings a "love-labor'd song" -- as in the poetry of the fallen world. The light of the moon is now beautiful in a sophisticated way, setting off the face of things by shadow -- a notion more proper to a world where good is known by evil. It is related to the illusion that Mr. Eliot, also working from a concept of timeless order, in "Burnt Norton" ascribes to daylight:
Investing form with lucid stillness
Turning shadow into transient beauty
With slow rotation suggesting permanence.
The answer to the charming variety of moonlight is in the hymn of the next morning: "let your ceaseless change / Varie to our great Maker still new praise." But all of this is no more than the alluring threshold of temptation, the initial titillating satisfaction of sense that vaguely promises what the will perverting itself really wants. The answer to Eve's abrupt question about the beauty of night comes in the guise of an answer (an answer to the
-87-
wills, Night bids us rest." What he bids, Eve"with perfet beauty adornd" obeys unargued, accepting God's law from him. She presents her own praise of the order of nature; it is a prettier poem than Adam's, more graceful and more sensuous, turning in lovely circle about Adam, who is the center giving the order its value:
With thee conversing I forget all time,
All seasons and thir change, all please alike.
Sweet is the breath of morn, her rising sweet,
With charm of earliest Birds; pleasant the Sun
When first on this delightful Land he spreads
His orient Beams, on herb, tree, fruit, and flour,
Glistring with dew; fragrant the fertil earth
After soft showers; and sweet the coming on
Of grateful Eevning milde, then silent Night
With this her solemn Bird and this fair Moon,
And these the Gemms of Heav'n, her starrie train:
But neither breath of Morn when she ascends
With charm of earliest Birds, nor rising Sun
On this delightful land, nor herb, fruit, floure,
Glistring with dew, nor fragrance after showers,
Nor grateful Eevning mild, nor silent Night,
With this her solemn Bird, nor walk by Moon,
Or glittering Starr-light without thee is sweet.
(IV, 639ff)
Then she breaks off with a strangely dissonant abruptness:
But wherfore all night long shine these, for whom
This glorious sight, when sleep hath shut all eyes?
(IV, 657f)
Adam lectures on order again, on the relationship between created and Creator. Man is not the center. His verse rises in pitch to praise, not the things, but their relationship to the Creator. Then they approach the described natural beauty of their "blissful Bower"; negative comparisons from myth ("though but feignd") and time apply their pressure to the moment, chief among them the lovely sad anticipation of Pandora. Finally they make their nocturnal devotions in praise of the Creator of nature.
The voice that Eve heard, of which she says, "I rose as at thy
-86-
- pastoral passage Bk IV
- post by singa1
question planted in the syntax -- "Whom to behold but thee"); it is an invitation to self-love presented more palatably as if from outside the self, in a voice she thinks is Adam's.
- Pastoral passage of Bk IV
- post by singa1
call," could not be Adam's. It is her voice -- assumed, projected, and heightened by the tempter who is external, but who cannot effectively tempt except internally. The modest excitement of rhythm and verbal sensuousness in Eve's praise to Adam of the order of nature becomes here a celebration of the secret manhidden parts of nature. What was potential in the earlier passage, and strongly intimated by her abrupt and curious question, here becomes explicit -- an answer that emerges in distorting preoccupation, that breaks the order and the place of self in that order.
now is the pleasant time,
The cool, the silent, save where silence yields
To the night-warbling Bird, that now awake
Tunes sweetest his love-labor'd song; now reignes
Full Orb'd the Moon, and with more pleasing light
Shadowie sets off the face of things; in vain,
If none regard; Heav'n wakes with all his eyes,
Whom to behold but thee, Natures desire,
In whose sight all things joy, with ravishment
Attracted by thy beauty still to gaze. (V, 38ff)
In this invitation to the "walk by Moon" the solemn bird of night now sings a "love-labor'd song" -- as in the poetry of the fallen world. The light of the moon is now beautiful in a sophisticated way, setting off the face of things by shadow -- a notion more proper to a world where good is known by evil. It is related to the illusion that Mr. Eliot, also working from a concept of timeless order, in "Burnt Norton" ascribes to daylight:
Investing form with lucid stillness
Turning shadow into transient beauty
With slow rotation suggesting permanence.
The answer to the charming variety of moonlight is in the hymn of the next morning: "let your ceaseless change / Varie to our great Maker still new praise." But all of this is no more than the alluring threshold of temptation, the initial titillating satisfaction of sense that vaguely promises what the will perverting itself really wants. The answer to Eve's abrupt question about the beauty of night comes in the guise of an answer (an answer to the
-87-
- pastoral passage of Bk IV
- post by singa1
Some of the lovely pastoral poetry of Book IV turns out to have had this cognitive purpose, which we may examine by looking at the section that celebrates the approach of evening and the preparation for sleep. First there is the pastoral description by the narrative voice of the poem:
Now came still Eevning on, and Twilight gray
Had in her sober Liverie all things clad;
Silence accompanied, for Beast and Bird,
They to thir grassie Couch, these to thir Nests
Were slunk, all but the wakeful Nightingale;
She all night long her amorous descant sung;
Silence was pleas'd: now glow'd the Firmament
With living Saphirs: Hesperus that led
The starrie Host, rode brightest, till the Moon
Rising in clouded Majestie at length
Apparent Queen unvaild her peerless light,
And o're the dark her Silver Mantle threw. (IV, 598ff)
There is unmistakable love expressed for the beauty of nature, but it is a calm and unromantic love, with no nervous quiver in the sensuousness; the beauty celebrated is firmly founded on order, here on the order of day and the order of rest. Adam's twilight recital, which follows, while not altogether unsensuous, dwells almost entirely on the beauty of the natural order as symbol for the human order:
Fair Consort, th' hour
Of night, and all things now retir'd to rest
Mind us of like repose, since God hath set
Labour and rest, as day and night to men
Successive, and the timely dew of sleep
Now falling with soft slumbrous weight inclines
Our eye-lids. (IV, 610ff)
The order of repose is a mark of man's dignity, for he labors in God's eye; the conclusion is practical: "Mean while, as Nature
-85-
- pastoral passage Bk IV
- post by singa1
Some of the lovely pastoral poetry of Book IV turns out to have had this cognitive purpose, which we may examine by looking at the section that celebrates the approach of evening and the preparation for sleep. First there is the pastoral description by the narrative voice of the poem:
Now came still Eevning on, and Twilight gray
Had in her sober Liverie all things clad;
Silence accompanied, for Beast and Bird,
They to thir grassie Couch, these to thir Nests
Were slunk, all but the wakeful Nightingale;
She all night long her amorous descant sung;
Silence was pleas'd: now glow'd the Firmament
With living Saphirs: Hesperus that led
The starrie Host, rode brightest, till the Moon
Rising in clouded Majestie at length
Apparent Queen unvaild her peerless light,
And o're the dark her Silver Mantle threw. (IV, 598ff)
There is unmistakable love expressed for the beauty of nature, but it is a calm and unromantic love, with no nervous quiver in the sensuousness; the beauty celebrated is firmly founded on order, here on the order of day and the order of rest. Adam's twilight recital, which follows, while not altogether unsensuous, dwells almost entirely on the beauty of the natural order as symbol for the human order:
Fair Consort, th' hour
Of night, and all things now retir'd to rest
Mind us of like repose, since God hath set
Labour and rest, as day and night to men
Successive, and the timely dew of sleep
Now falling with soft slumbrous weight inclines
Our eye-lids. (IV, 610ff)
The order of repose is a mark of man's dignity, for he labors in God's eye; the conclusion is practical: "Mean while, as Nature
-85-
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