102 Sentences With "dream vision" | Random Sentence Generator

A dream vision was the marker of a true Romantic artist.

It seemed less a relic of an imperial age than a Symbolist's dream vision.

The inspiration for her début novel, "The Hundred Thousand Kingdoms" (2300), was a dream vision of two gods.

That movie was a bad-dream vision of pregnancy in which Rosemary paid the price for her trust and naïveté.

Partly TripAdvisor, but also 'cos of a dream vision I had, in which I journeyed here in my mind, having taken the number 72 bus—in my mind.

Towards the end of the finale, Witcher's titular hero Geralt of Rivia (Henry Cavill with a Legolas wig) speaks to his estranged mother Visenna during a fever dream vision.

The result was a large community of underground music, politics, drugs and lifestyle experiments that lured foreigners along with West Germans, including the likes of David Bowie and Iggy Pop, who were drawn to a dream vision of Weimar Republic libertinism.

" But it wasn't just the harpist's soft notes and the twinkling set that drifted us into the nebulous land of sleep; from the bold first look Gupta invited us into his dream vision, with a glittering silver skirt worn with a black hoodie bearing the silver words "Good Mourning.

He set it up with a strobe of chords on a Fender Rhodes piano and washy atmospherics on a synthesizer, and when Mr. Scofield entered it was as an emissary from a faraway land, like a dream vision of the R&B guitarist Cornell Dupree clambering out of a Mars rover.

The tightly packed panels that result, in which a line or two adapted from the "Diary" might be juxtaposed with a bit of invented dialogue between the Annex inhabitants or a dream vision of Anne's, do wonders at fitting complex emotions and ideas into a tiny space — a metaphor for the Secret Annex itself.

And sure, Titanic may be corny, clumsy, and obvious—but the sincerity of its emotions and the power of its spectacle endure, particularly when both elements come together in the majestic closing images: a dream vision in which the ship is brought back from its watery grave not just to its former glory, but as a better version of itself.

This occurs at the heart of the cycle within the prolog to Fabill 7. This presents the master fabulist meeting and conversing with the narrator (Henryson) in a dream vision. Aesop is also portrayed here as (by request of the narrator) directly telling the seventh fabill (The Taill of the Lyoun and the Mous) within this dream vision. In contrast to more traditional portraits of Aesop as hunchbacked, this dream-vision version presents him as able-bodied.

Mitchell was named HSGametime Player of the Year by The Press-Enterprise. He had success with Dream Vision on the Amateur Athletic Union circuit.

The bulk of the narrative describes a dream vision experienced by its central character, Rhonabwy, a retainer of Madog, in which he visits the time of King Arthur.

A groundplan of the house. A bedpost with tripartite candle. The relationship between the house and the dream vision. The geometry and ornaments of the house are described in detail.

The poem concludes with the narrator waking, determined to record the dream – thus producing the poem. The dream- vision convention was widely used in European literature from late Latin times until the 15th century.

The club's main colour, blue, is the colour of Samsung, the club's owner, and also represents "clear blue sky, hope, dream, vision, and the future". Red is a symbol of burning passion, endless challenge and expressing energy and dynamic.

Boethius in prison A dream vision or visio is a literary device in which a dream or vision is recounted as having revealed knowledge or a truth that is not available to the dreamer or visionary in a normal waking state. While dreams occur frequently throughout the history of literature, visionary literature as a genre began to flourish suddenly, and is especially characteristic in early medieval Europe.Ananya Jahanara Kabir, Paradise, Death and Doomsday in Anglo-Saxon Literature (Cambridge University Press, 2001, 2004), p. 78. In both its ancient and medieval form, the dream vision is often felt to be of divine origin.

The poem "Notes on a Conspiracy" is a powerful poem, which begins with an excerpt about 40 something excavated skulls. The poem centers around the theme of white colonization. It begins with the image of “the antelope’s dream” and her “eyes open for the great old visions / of the cougar and bear, but with rattlesnake / as I pass and listen to her song.” The dream vision invokes images of traditional Indian culture, which is further strengthened by the relation of the dream vision to animals (closely associated with older Indian traditions) and again by the theme of song.

The Dream Vision of the Peasant Lad was first performed as part of Vissarion Shebalin's performing edition of The Fair at Sorochyntsi, which premiered in 1931 in Leningrad at the Maly Theater, conducted by Samuil Samosud. Shebalin's orchestration was published by Muzgiz (IMSLP) in 1934.

Princess Margaret of England sketched by an unknown artist. "Recueil d'Arras", sixteenth century.The Thrissil and the Rois is composed in rhyme royal stanzas and makes free use of aureate vocabulary inspired by Latin and French. The narrative is presented in the common medieval device of a dream vision.

The poem is written as a literary dream vision and is an example of medieval debate poetry. A concerto inspired by the poem was composed by Georg Friedrich Handel. It apparently also influenced works by both John Milton and William Wordsworth. Clanvowe also wrote The Two Ways, a penitential treatise.

Pierre-Cécile Puvis de Chavannes: An Aisling, 1883 The aisling (Irish for 'dream, vision', ), or vision poem, is a poetic genre that developed during the late 17th and 18th centuries in Irish language poetry. The word may have a number of variations in pronunciation, but the 'is' of the first syllable is always realised as a ("sh") sound.

However, a year later ZUN announced that he will not continue making patches to enhance PoFV's netplay because he wanted to move forward."オクトーバーリザレクション". Invisible Games and Japanese. 2006-10-16. ZUN had also written a short spin-off story to PoFV named , included in the fanbook Seasonal Dream Vision, featuring Yukari Yakumo as its main character.

The first recorded association of Valentine's Day with romantic love is believed to be in Chaucer’s Parliament of Fowls (1382), a dream vision portraying a parliament for birds to choose their mates.Oruch, Jack B., "St. Valentine, Chaucer, and Spring in February", Speculum, 56 (1981): 534–65. Oruch's survey of the literature finds no association between Valentine and romance prior to Chaucer.

Wanmelbu, a legendary resident, created the foundations of the customary chief ranks still current in the northern part of the island. His eldest son, Tingtingru, had a dream vision of tams-tams (atingting), major components of the traditional tribal art of North Ambrym. By Ambrym tradition, the people who live in the village of Fanla are all, without exception, the descendants of Wanmelbu.

Due to his growing age, Morya found it hard to continue his visits to Morgaon. Once he reached Morgaon after the temple was closed. Tired and hungry, he slept. Ganesha gave Morya a dream-vision telling Morya to offer his prayers to him and that he would reside with Morya in Chinchwad and incarnate in Morya's lineage for seven generations.

St Michael's Tower at Glastonbury Tor in 2009 A Land of Maidens in an Otherworld is not restricted to Irish myths. A Middle English dream vision known as The Isle of Ladies recounts a dreamer's visit to a magical island where only women live.Pearsall, Derek, 1990; reprinted 1992. The Floure and the Leafe; The Assembly of Ladies; The Isle of Ladies.

"The Sea-Bell" or "Frodos Dreme" is a poem by J.R.R. Tolkien included in his 1962 collection of verse The Adventures of Tom Bombadil. It was a revision of a 1934 poem called Looney. The poet W. H. Auden thought it Tolkien's finest poem. It has been related to the Celtic immram tradition of tales and medieval dream vision poetry.

The childless Xuthus in Euripides's Ion consults Trophonius on his way to Delphi. Apollonius of Tyana, a legendary wise man and seer of Late Antiquity, once visited the shrine and found that, when it came to philosophy, Trophonius was a proponent of sound Pythagorean doctrines. Plutarch's De Genio Socratis relates an elaborate dream-vision concerning the cosmos and the afterlife that was supposedly received at Trophonius' oracle.

The Great Divorce is a novel by the British author C. S. Lewis, published in 1945, and based on a theological dream vision of his in which he reflects on the Christian conceptions of Heaven and Hell. The working title was Who Goes Home? but the final name was changed at the publisher's insistence. The title refers to William Blake's poem The Marriage of Heaven and Hell.

The work examines the type of government that had been established in Rome since the kings, and that was challenged by, amongst others, Julius Caesar. The development of the constitution is explained, and Cicero explores the different types of constitutions and the roles played by citizens in government. The work is also known for the Dream of Scipio, a fictional dream vision from the sixth book.

Arya Senior Secondary School was founded in 1996 by Sh. Parmender Chitoria, Sh. Kuldeep Sangwan, Sh. Ashok Sharma, and Sh. Surender Sangwan with support of local philanthropists. Sh. Parmender Chitoria has been the school's principal since its founding. Arya Sr. Sec. School, Jhojhu Kalan owes its existence to the dream, vision and missionary zeal of Sh. Parmender Chitoria, Sh. Kuldeep Sangwan, Sh. Ashok Sharma, Sh. Surender Sangwan.

Scipio Africanus the Elder (pictured) appears to his grandson and tells him of the universe and his destiny in the Somnium Scipionis. The Dream of Scipio (Latin, Somnium Scipionis), written by Cicero, is the sixth book of De re publica, and describes a fictional dream vision of the Roman general Scipio Aemilianus, set two years before he oversaw the destruction of Carthage in 146 BC.

Greek philosopher Aristotle (384–322 BC) believed dreams caused physiological activity. He thought dreams could analyze illness and predict diseases. Marcus Tullius Cicero, for his part, believed that all dreams are produced by thoughts and conversations a dreamer had during the preceding days.Cicero, De Republica, VI, 10 Cicero's Somnium Scipionis described a lengthy dream vision, which in turn was commented on by Macrobius in his Commentarii in Somnium Scipionis.

The book is part of Tolkien's Middle-earth legendarium. The volume includes The Sea-Bell, subtitled Frodos Dreme, which W. H. Auden considered Tolkien's best poem. It is a piece of metrical and rhythmical complexity that recounts a journey to a strange land beyond the sea. Drawing on medieval 'dream vision' poetry and Irish immram poems the piece is markedly melancholic and the final note is one of alienation and disillusion.

Jeter played basketball for Bishop Gorman High School in Summerlin, Nevada. He played for the junior varsity team as a freshman and played in the adidas 64 Tournament with his Dream Vision team. He was promoted to the varsity team as a sophomore. By the time he was a junior, Jeter had become one of the most touted power forwards in high school basketball, receiving much collegiate attention.

They reached Lou Yang where they were put up in a temple. The King met them in 67 CE, with due reverence and was pleased with the presents the monks had brought for him. It was the 30th day in the 12th month of Chinese calendar. The Emperor was particularly happy with the Buddha image which had striking similarity to the one he had seen in his dream vision.

The Assembly of Gods is a fifteenth-century dream vision poem by an unknown author (it was originally attributed to John Lydgate, but scholars now agree that is unlikely that he wrote it). The poem, which includes many of the standard allegorical forms of its day, was quite popular when it was first published in printed form by Wynken de Worde, but has since fallen out of favor.

Disgusted by the vulgarity of it all, Faust demands to be taken somewhere else. On a meadow by the Elbe, Méphistophélès shows Faust a dream vision of a beautiful woman named Marguerite, causing Faust to fall in love with her. He calls out her name, and Méphistophélès promises to lead Faust to her. Together with a group of students and soldiers, they enter the town where she lives.

Extinction is a 2018 American science fiction action film directed by Ben Young and written by Spenser Cohen and Brad Kane. The film is about a father who has a recurring dream/vision about the loss of his family while witnessing a force bent on destruction. The film stars Lizzy Caplan, Michael Peña, Mike Colter, Lilly Aspell, Emma Booth, Israel Broussard, and Lex Shrapnel. It was released on Netflix on July 27, 2018.

The Fenyeit Freir of Tungland is composed in verse in the form of a Dream vision and forms a supposed biography of John Damian up to and including his attempt at flight. The tone of the poem is consistently humorous and scurrilous. Passages of fanciful fiction are mixed with elements of truth, albeit exaggerated for comic effect. In these respects it bears a strong resemblance in style to the contemporary literary form of flyting.

James IV sketched by Jacques Le Boucq. Middle sixteenth century. The Thrissil and the Rois is a Scots poem composed by William Dunbar to mark the wedding, in August 1503, of King James IV of Scotland to Princess Margaret Tudor of England. The poem takes the form of a dream vision in which Margaret is represented by a rose and James is represented variously by a lion, an eagle and a thistle.

Clanvowe's best-known work was The Book of Cupid, God of Love or The Cuckoo and the Nightingale, a 14th- century debate poem influenced by Chaucer's Parliament of Fowls. In the poem, the nightingale praises love, but the cuckoo mocks it for causing more trouble than joy. It is written as a literary dream vision and serves as an example of medieval debate poetry. An organ concerto inspired by the poem was composed by Handel.

In 1652 there was the plague epidemic in skete and the neighbouring areas. Many monks were dying from it. The remaining monks were pleading to God for mercy. On December 22, 1652 the Manyava hieromonk Filaret had a dream vision of Blessed Theotokos being dressed in a red hegumen´s cloak, who came in through the monastery gates and entered the Church of Annunciation of Virgin Mary and having stopped there, said.

The episode starts with Elena (Nina Dobrev) having a dream/vision about her and Stefan (Paul Wesley) meeting for the first time. She wakes up and feels that what she saw was weird. Elena goes to a cafe with Caroline (Candice Accola) where Elena has another vision. She talks to Caroline about it, and Caroline explains that now that Elena has broken up with Damon (Ian Somerhalder), the universe is trying to get her and Stefan back together.

It likely evolved from two earlier chanson subtypes, the chanson dramatique and the chanson pastourelle.Davidoff, J. M. Beginning Well: Framing Fictions in Late Middle English Poetry, Fairleigh Dickinson University Press, 1988, p.36 Poets in Middle English adopted the trope for themes other than love, often making the debate's focus a moral or devotional one. The genre shares many common features with the dream vision, although with the important distinction that the poet does not fall asleep.

At the beginning of the poem, the sleepless poet, who has suffered from an unexplained sickness for eight years (line 37), lies in his bed, reading a book. A collection of old stories, the book tells the story of Ceyx and Alcyone. The story tells of how Ceyx lost his life at sea, and how Alcyone, his wife, mourned his absence. Unsure of his fate, she prays to the goddess Juno to send her a dream vision.

Secondly, the taill is told directly by Esope within the narrator's dream (the narrator meets Esope as part of a dream vision). The moralitas is also delivered by Esope. Thirdly, it is the only fabill in the cycle to have an unambiguously ideal outcome in which all parties have gained. The plea that the mouse makes for the lion to temper mercy with justice is a long one (10 stanzas) and invokes important civil, legal and spiritual concepts.

Later references to Mahalalel include 1 Chronicles 1:2, Jubilees 4:14–15 and Gospel of Luke 3:37. Enoch's first dream vision in 1 Enoch 83 recounts the dream that Enoch had in the house of Mahalalel his grandfather, and which Mahalalel explains to him.See the translation by R. H. Charles (1917) at sacred- texts.com Additionally, Mahalalel is also mentioned in Islam in the various collections of tales of the pre-Islamic prophets, which mentions him in an identical manner.

Embedded in this story is a series of half-magic dream vision narratives, ascribed to the mind of Farishta. They are linked together by many thematic details as well as by the common motifs of divine revelation, religious faith and fanaticism, and doubt. One of these sequences contains most of the elements that have been criticised as offensive to Muslims. It is a transformed re-narration of the life of Muhammad (called "Mahound" or "the Messenger" in the novel) in Mecca ("Jahiliyyah").

The third sketch (№ 238) from 1913 Some major changes were introduced in a third watercolour painting (№ 238) which he made during the autumn of 1913. This version was given the text En drömsyn. En konung offras för folket ("a dream vision, a king sacrificed for his people"), a text which was possibly added in the hope that it would not be considered to be an attempt at a historically faithful reconstruction.Gunnarsson 1992:223ff The most essential change consisted of a more monumental composition.

The Arch of Constantine, constructed in AD 315, neither depicts a vision nor any Christian insignia in its depiction of the battle. In his posthumous biography of Constantine, Eusebius agrees with Lactantius that Constantine received instructions in a dream to apply a Christian symbol as a device to his soldiers' shields, but unlike Lactantius and subsequent Christian tradition, Eusebius does not date the events to October 312 and does not connect Constantine's vision and dream-vision with the Battle of the Milvian Bridge.

Oates says that the novel started as a "dream vision" describing it as "I saw a woman sitting at a large table wearing inappropriate, very heavy makeup that had dried, like mud, and was darker than her skin." Oates wrote the novel in response to the dream, and during a period that was hard for Oates: her husband died while she was drafting the novel. Kevin Nance of the Washington Post describes these two influences as creating a deeply autobiograhical novel.

Town Scene from Commodore 64 version The principal character in the game is first contacted by Princess Aylea in a dream-vision. They are told that the evil Baron Taragas from the Kingdom of Maelbane has conspired with a local baron, Baron Mantrek, to find a magical material called Blacksilver. Supposedly in the hands of evil, Blacksilver could be used to create weapons of mass destruction. Princess Aylea instructs the character to rescue her father, King Durek, who has been abducted by Baron Taragas.

This dream vision serves as a mediator between the natural and supernatural domains by being both spirit and an element of human love. As the Poet attempts to unite with the spirit, night's blackness swallows the vision and severs his dreamy link to the supernatural. Once touched by the maddening hand of the supernatural, the Poet restlessly searches for a reconciliation with his lost vision. Though his imagination craves a reunion with the infinite, it too is ultimately anchored to the perceptions of the natural world.

Mary Shelley maintained that she derived the name Frankenstein from a dream-vision. This claim has since been disputed and debated by scholars that have suggested alternative sources for Shelley's inspiration. The German name Frankenstein means "stone of the Franks", and is associated with various places in Germany, including Frankenstein Castle (Burg Frankenstein) in Darmstadt, Hesse, and Frankenstein Castle in Frankenstein, a town in the Palatinate. There is also a castle called Frankenstein in Bad Salzungen, Thuringia, and a municipality called Frankenstein in Saxony.

It's a vision of the god, of Dionysus, who appears before the chorus on the stage. And the actors and the plot are the development of that dream vision, the essence of which is the ecstatic dismembering of the god and of the Bacchantes' rituals, of the inseparable ecstasy and suffering of human existence. After the time of Aeschylus and Sophocles, there was an age where tragedy died. Nietzsche ties this to the influence of writers like Euripides and the coming of rationality, represented by Socrates.

In addition, Gregory's refusal to offer sacrifice to the goddess Anahita provoked the king to torture him and condemn him to imprisonment in the Khor Virap. He was then forgotten and the King waged wars and persecution among Christian minorities. However, Gregory did not die during his 13 years of imprisonment. His survival was attributed to a Christian widow from the local town who, under the influence of strange dream vision, regularly fed Gregory by dropping a loaf of freshly baked bread into the pit.

Pearl, miniature from Cotton Nero A.x. The Dreamer stands on the other side of the stream from the Pearl-maiden. Pearl (Middle English: Perle) is a late 14th-century Middle English poem that is considered one of the most important surviving Middle English works. With elements of medieval allegory and dream vision genre, the poem is written in a North-West Midlands variety of Middle English and highly—though not consistently—alliterative; there is a complex system of stanza linking and other stylistic features.

The Isle of Ladies is an anonymous fifteenth-century dream vision poem about an island governed by women which is invaded by men, after which there ensues a series of courtly romantic exploits. It is thought to draw on Chaucerian conventions, and some believe it to be written on the occasion of an aristocratic betrothal. Others argue that it is a "mock courtly romance." It survives in only two manuscripts (Longleat House MS 256 and British Library MS Additional 10303), and extends to 2235 lines.

Edward is portrayed in Wynnere and Wastoure, while it has been suggested (by Israel Gollancz) that his herald in the poem can be identified with the Black Prince. Wandering by himself, the poet lies down by a hawthorn tree and has a dream vision, a "sweven" (46), in which he sees two opposing armies, and a gold and red pavilion raised on top of a hill (rather in the manner of a tournament). Inside the pavilion is a richly-dressed, brown-bearded king, who has been firmly identified as Edward III of England.

Nancy Ross came up the idea for forming an all-female group after attending a Beach Boys' concert in 1964. According to her sister, Ross-Moore: :After one particular concert (a Beach Boys show in 1964, on a school night no less) Nancy had an experience that would change the girls’ lives forever. 'I woke up—I’d only been asleep about 15 minutes—and I’d had this clear dream, vision, whatever you want to call it, of a group of girls onstage. In my mind it was just like the Beach Boys, but girls.

In a flash-forward to 2013 was shown as part of Clark's dream/vision, one of the events depicted being that Lex declaring his candidacy for President of the United States. Season 10's premiere revealed that Lex had used Cadmus Labs to engineer clones of himself in an effort to repair his body. One of the clones (portrayed by Mackenzie Gray) was hell-bent to make Clark's life miserable by attempting to murder Lois Lane but later dies because of his accelerated aging. Michael Rosenbaum reprised his role in the series finale's second part.

The character of Des Esseintes explicitly heralded the work of Gustave Moreau, Jan Luyken and Odilon Redon. None of these artists would have identified themselves as part of this movement. Nevertheless, the choice of these three established a decadent perspective on art which favored madness and irrationality, graphic violence, frank pessimism about cultural institutions, and a disregard for visual logic of the natural world. It has been suggested that a dream vision that Des Esseintes describes is based on the series of satanic encounters painted by Félicien Rops.

The lowest part of the belly was made of undecorated impure silver. The thighs had skin or flesh colour and the legs below the knees were made of wood. Rauðúlfr interpreted the dream vision as the successive reigns of kings of Norway down from the reign of Olav, who represented the golden head and the glory of Heaven, to about 1155 when the reign had been divided (the legs). By a series of ingenious puns Rauðúlfr linked the character of each of King Olav's successors (or their reign) with the material or decoration of the corresponding part of the crucifix.

The House of Fame (Hous of Fame in the original spelling) is a Middle English poem by Geoffrey Chaucer, probably written between 1374 and 1385, making it one of his earlier works. It was most likely written after The Book of the Duchess, but its chronological relation to Chaucer's other early poems is uncertain. The House of Fame is over 2,005 lines long in three books and takes the form of a dream vision composed in octosyllabic couplets. Upon falling asleep the poet finds himself in a glass temple adorned with images of the famous and their deeds.

The combination of these elements in one art form gave birth to tragedy. He theorizes that the chorus was originally always satyrs, goat-men. (This is speculative, although the word “tragedy” τραγωδία is contracted from trag(o)-aoidiā = "goat song" from tragos = "goat" and aeidein = "to sing".) Thus, he argues, “the illusion of culture was wiped away by the primordial image of man” for the audience; they participated with and as the chorus empathetically, “so that they imagined themselves as restored natural geniuses, as satyrs.” But in this state, they have an Apollonian dream vision of themselves, of the energy they're embodying.

The characters Mirth and Gladness lead a dance, in a miniature image from a manuscript of The Romance of the Rose in the Bodleian Library (MS Douce 364, folio 8r). Le Roman de la Rose (The Romance of the Rose) is a medieval poem in Old French, styled as an allegorical dream vision. As poetry, The Romance of the Rose is a notable instance of courtly literature meant to entertain and to teach about the art of romantic love. Throughout the narrative, the word Rose is used both as the name of the titular lady and as an abstract symbol of female sexuality.

Illuminated first page of Oeuvres diverses d'Alain Chartier et pièces anonymes (Various Works of Alain Chartier and anonymous pieces), said to depict the author at his desk. Le Livre de l’Espérance, (The Book of Hope) also called the Consolation des Trois Vertus or the Livre de l’Exile, was written by the French poet and statesman Alain Chartier. Begun in 1428 in Avignon, the work was not yet complete by the author's death in 1430. It is a lengthy dream vision and allegory of political, theological and poetic significance written in both verse and prose Middle French.

After seeing a vision of King Tirian of Narnia pleading for their help in England, Peter and Edmund go to the Ketterleys' old home in London to dig up the magic rings that Professor Kirke buried in the yard as a boy in The Magician's Nephew to be used by Eustace and Jill to reach Narnia. They are waiting for the others at the train platform when the accident happens. When King Tirian sees the Seven Friends of Narnia in his dream/vision, he thinks that, as with Peter, that Edmund 'had already the face of a King and a warrior'. Edmund accompanies everyone, except Susan, into Aslan's country.

It occurs as part of a dream vision in which the makar is describing the army of goddesses he has witnessed alighting upon the earth: I would (attempt to) describe (the scene), but who could satisfactorily frame in verse the way in which all the fields were radiantly adorned by those white lilies (the landing army) that shone upwards into the sky? Not you, Homer, sublime as you were in writing, for all your faultlessly ornate diction; nor you, Cicero, whose sweet lips were so consistently lucid in rhetoric: your aureate tongues both (the Greek and the Roman) were not adequate to describe that vision in full.

Near the corner of Main and Hastings streets, Bruce Eriksen Place, a social housing project, designed by Vancouver architect Gregory Henriquez, was opened in 1996.Neighbourhood Housing Society webpage, retrieved 2012-03-21 Inscribed on each of the balconies of the building are the words such as "Hope, Integrity, Vote, Dream, Vision, Courage and Respect", in tribute to Eriksen and his contribution to the community he loved. Bruce — The Musical (originally titled The Tipping Point) is a musical radio drama and stage play by Bob Sarti, with songs and music by Bob Sarti and Earle Peach. It features Bruce Eriksen as a character and describes the origins of DERA.

Knight of Cups directly quotes a variety of dream vision works, including John Bunyan's The Pilgrim's Progress (1678), Mark Frost and David Lynch's Twin Peaks, and the Hymn of the Pearl from the Acts of Thomas. The film freely oscillates between depicting Rick's memory, dreams, and "real" experiences, becoming a stream-of-consciousness series of moments and thoughts. Quotations from the Hymn of the Pearl are read in voice-over by Rick's father in the beginning of the film, with many of the lines corresponding to Rick's experiences and feelings. Much like the Hymn of the Pearl's protagonist, Rick is expected to awaken from his "deep sleep" by remembering "the pearl".

It survives in only one manuscript, the Red Book of Hergest, and has been associated with the Mabinogion since its publication by Lady Charlotte Guest in the 19th century. The bulk of the narrative describes a dream vision experienced by its central character, Rhonabwy, a retainer of Madog, in which he visits the time of King Arthur. Also in Welsh history, the tale 'The Dream of Macsen Wledig' is a romanticised story about the Roman emperor Magnus Maximus, called Macsen Wledig in Welsh. Born in Hispania, he became a legionary commander in Britain, assembled a Celtic army and assumed the title of Emperor of the Western Roman Empire in 383.

Examples might include some of the professionals hired by the Concurso: the cantaora Pastora Pavón (La Niña de los Peines), the cantaor Manuel Torre, and the bailaora Juana la Macarrona. These had, unlike many paid performers of that 'decadent' era, maintained a purity in their approach to flamenco. Cf., D.E. Pohren, Lives and Legends of Flamenco (Madrid 1964, revised 1988) at 73. The Concurso, however, apart from the contest, did directly encourage the song and dance of professionals.Paul Hecht in his The Wind Cried (New York: The Dial Press 1968) at 105-107, describes a "dream vision of a flamenco contest" in which the performers and local aficionados are given preference.

The narrator travels to individual groups to debate the true nature of "Mum" and the "Sothsegger," but instead finds only ignorance (a side-effect of "Mum's" qualities), and discovers that "Mum's" pervasive influence lies at the heart of corruption within the King's advisers, nobles, scholars (clerks), priests, archbishops, friars, mayors, and city councillors. In its latter stages the poem also includes an extended dream vision (ll. 871-1287), where the idealised Sothsegger king is presented as a beekeeper, exterminating unproductive drones who are intent on stealing the honey created by the other worker bees. This leads the narrator to then debate on medieval dream theory and the value of dreams.

This issue of gender may have influenced the redaction tendencies of the editor. Brent Shaw argues that the editor of the story rewrites Perpetua's experience in such a way that affirms the technical value of her martyrdom while simultaneously presenting her actions as unnatural. Furthermore, the dream vision of Saturus is considered to be the result of editorial activity, unlikely to have been written by Saturus himself because of its distinctive construction and impersonal bent. If the editor is male, he may have been seeking to show that men and women, rather than women alone, are responsible for the dreams and visions received in the narrative.

Before Joseph was born, his mother Lucy, prayed in a grove about her husband's refusal to attend church and later said she had had a dream-vision, which she interpreted as a prophecy that Joseph Sr. would later accept the "pure and undefiled Gospel of the Son of God."; . According to Lucy, Joseph Smith Sr. also had seven visions between 1811 and 1819, coming at a time when he was "much excited upon the subject of religion." These visions confirmed in his mind the correctness of his refusal to join any organized church and led him to believe that he would be directed in the proper path toward salvation.

The Cáin Adomnáin (Law of Adomnán), also known as the Lex Innocentium (Law of Innocents), was promulgated amongst a gathering of Irish, Dál Riatan and Pictish notables at the Synod of Birr in 697. It is named after its initiator Adomnán of Iona, ninth Abbot of Iona after St. Columba. It is called the "Geneva Accords" of the ancient Irish, for its protection of women and non- combatants, extending the Law of Patrick, which protected monks, to civilians. The legal symposium at the Synod of Birr was prompted when Adomnáin had an Aisling dream vision wherein his mother excoriated him for not protecting the women and children of Ireland.

The general Sebastiano Procolo lives in a little village in the mountains boundless, in a small wooden house near a dense forest, called the "Old Woods". He is there on behalf of his nephew, owner of the reserve; however the general has the ambition to destroy all the trees in order to enrich. One night he discovers that the forest is inhabited by strange invisible creatures that whisper continually being released to resume again in the power of the ancient forest. Sebastiano initially don't understand the situation, but after as in a dream vision he realizes that these creatures have been imprisoned long ago by himself.

The outlaw fell asleep one summer day on Lindridge, the hill to the west of the later abbey site, and had a dream in which the future glory of the place was revealed to him. After revealing and explaining his dream vision, Uthlagus announced that it meant he could no longer keep company with his band. He took his leave and was not seen again, although it was rumoured he had become a hermit at Deepdale. Muskham's account of the origins of religious life at Deepdale is marked by free use of legend, although key features of his account were probably plausible to his readers.

The overall structure of the Morall Fabillis is symmetrical, with seven stories modelled on fables from Aesop (from the elegiac Romulus manuscripts, medieval Europe's standard fable text, written in Latin), interspersed by six others in two groups of three drawn from the more profane beast epic tradition. All the expansions are rich, wry and highly developed. The central poem of the cycle takes the form of a dream vision in which the narrator meets Aesop in person. Aesop tells the fable The Lion and the Mouse within the dream, and the structure of the poem is contrived so that this fable occupies the precise central position of the work.

He twice challenges Lancelot to a duel, but each time loses and asks Lancelot to kill him; Lancelot refuses and grants him mercy before leaving. The mortally injured Gawain later writes to Lancelot, repenting of his bitterness, asking for his help against Mordred, and for forgiveness for splitting the Round Table. Following his death, Gawain also appears in Arthur's dream vision to tells him to wait thirty days for Lancelot to return to Britain before fighting Mordred, and Arthur sends Lucan and Bedivere to make a temporary peace treaty, but the bloody final conflict ensues anyway. Upon his eventual arrival, Lancelot weeps at Gawain's tomb for two nights.

The vision was imprinted on the architect's mind, enabling him to conceive the plan for the dzong without putting the vision on paper and to build it. On the basis of the dream vision of the architect, the building of the dzong was started in 1637 and completed in 1638, at the place where the Dzong Chug had existed. During this period, Ngawang Namgyal became the first leader of a unified Bhutan, following his concerted efforts to unify the country into one unit. The dzong was consecrated in the name of Pungthang Dechen Phodrang. In 1639, a commemorative chapel was erected to house the arms seized from the Tibetans who were defeated by the Bhutanese on this spot.

However, as Heather James argues, Shakespeare's allusions to Virgil's Dido and Aeneas are far from slavish imitations. James emphasizes the various ways in which Shakespeare's play subverts the ideology of the Virgilian tradition; one such instance of this subversion is Cleopatra's dream of Antony in Act 5 ("I dreamt there was an Emperor Antony" [5.2.75]). James argues that in her extended description of this dream, Cleopatra "reconstructs the heroic masculinity of an Antony whose identity has been fragmented and scattered by Roman opinion." This politically charged dream vision is just one example of the way that Shakespeare's story destabilises and potentially critiques the Roman ideology inherited from Virgil's epic and embodied in the mythic Roman ancestor Aeneas.

There are few of the fantastical elements which often surround the legend and the story focuses more on Arthur's skill as a warrior king. The stress placed on chivalric duty in the contemporary Sir Gawain and the Green Knight is in the Morte Arthure of a more practical nature and has more to do with personal loyalty. Also the Morte Arthure is less clearly part of the romance genre than Sir Gawain and other Arthurian poems and more like a chronicle of the times. It contains little of the magic and symbolism of these other works, with no mention of Merlin, although it does use the literary device of the dream vision common in courtly romance and Chaucer.

The work's "third version", the Dream Vision of the Peasant Lad (, Sonnoye videniye parobka), was composed eight years later when Mussorgsky revived and revised the second version to function as a "dream intermezzo" in his opera The Fair at Sorochyntsi (1874–80), a work which was still incomplete at the time of his death in 1881. Mussorgsky's piano-vocal score is dated 10 May 1880. Mussorgsky originally chose the end of act 1 of the opera as the location for his choral intermezzo. It is now generally performed in the Shebalin version (1930) of the opera, where it is relocated to act 3, just after a partial reprise of the peasant lad's dumka.

In the years after Mussorgsky's death, his friends prepared his manuscripts for publication and created performing editions of his unfinished works to enable them to enter the repertoire. The majority of the editorial work was done by Rimsky- Korsakov, who in 1886 produced a redacted edition of Night on Bald Mountain from the Dream Vision of the Peasant Lad vocal score. Rimsky-Korsakov discusses his work on the piece, designated a "fantasy for orchestra", in his memoirs, Chronicle of My Musical Life (1909): > During the season of 1882/83, I continued working on Khovanshchina and other > compositions of Mussorgsky's. A Night on Bald Mountain was the only thing I > could not find my way with.

"Methought I Saw my Late Espoused Saint" is the first line of a sonnet by the English poet John Milton, typically designated as Sonnet XXIII and thus referred to by scholars. The poem recounts a dream vision in which the speaker saw his wife return to him (as the dead Alcestis appeared to her husband Admetus), only to see her disappear again as day comes. There is considerable discussion among scholars as to which of his first two wives Milton could refer to. Samuel Johnson, in the Lives of the Most Eminent English Poets, suggests his second wife, Katherine Woodcock, and comments that "her husband honoured her memory with a poor sonnet".

The Legend of Good Women is a poem in the form of a dream vision by Geoffrey Chaucer during the fourteenth century. The poem is the third longest of Chaucer's works, after The Canterbury Tales and Troilus and Criseyde, and is possibly the first significant work in English to use the iambic pentameter or decasyllabic couplets which he later used throughout The Canterbury Tales. This form of the heroic couplet would become a significant part of English literature possibly inspired by Chaucer. The prologue describes how Chaucer is reprimanded by the god of love and his queen, Alceste, for his works--such as Troilus and Criseyde--depicting women in a poor light.

Nicanor proceeded to the region of Beth-horon, northwest of Jerusalem, a place situated favorably for the Jews, who were acquainted with the country; Judah encamped against him at Adasa. According to 2 Maccabees 15, Judah inspired his troops by relating to them a dream-vision he had experienced, wherein the Prophet Jeremiah presented a gold sword to him and said, "Accept this holy sword as a gift from God; with it you shall crush your adversaries." (2 Maccabees 15:15-16, NAB). The battle that ensued was desperate, and ended in a glorious victory for the Jews; Nicanor fell, and his troops to the number of 9,000 were put to flight.

The Taill of the Lyoun and the Mous is the seventh poem in Robert Henryson's cycle The Morall Fabillis of Esope the Phrygian written in Middle Scots. In the accepted text of thirteen poems it thus occupies the central position in the cycle. This fact is further underlined by the stanza count of the full cycle, in which the fabill itself, 24 stanzas in length, makes an architectural division of the lave of the entire cycle, before and after, in two roundly equal sections of 200 stanzas each. The Taill of the Lyoun and the Mous is also the only fabill in the cycle to appear as part of a dream vision.

Eilistraee was first created for the original home campaign run by Ed Greenwood himself, appearing by manifestation, dream vision, and in person. At the behest of editor Newton Ewell, who wanted a deity for good drow in the game, Greenwood used the opportunity to make the Dark Dancer official and added Eilistraee to The Drow of the Underdark (1991) and thus to the official Forgotten Realms. Greenwood designed Eilistraee as a nurturing mother goddess and a fertility goddess. The popular dancing-naked-under-moonlight aspect of the goddess and her faith was inspired by British traditions of fairies, and was intended to show her as non-warlike and non-violent, rather than capricious.

Gritsko strikes a bargain with a gypsy to assist him in winning Parasya. They exploit the superstitious fears of the fairgoers, who believe that the location of the fair this year is ill-chosen, it being the haunt of a devil who was thrown out of hell, took to drinking, went broke, pawned his jacket, and has returned to claim it. After various pranks and comic circumstances, Gritsko achieves his goal and all ends happily. At the end of act 1, Gritsko falls asleep some distance from the fair, and, because there has been talk of devilry, has a dream of a witches' sabbath. The following remarks are taken from the score (page numbers supplied): > Act 1, scene 2 – "Dream Vision of the Peasant Lad" (Intermezzo) :p.

Here are several forms of the legends relating to the foundation and naming of the temple: :Following Emperor Ming's dream vision about a Buddha who established Buddhism, two of Ming's emissaries departed to search for Buddhist scriptures. They encountered two Indian Buddhist monks in Central India and persuaded them to join them and return to China, bringing their book of Buddhist scriptures, relics and statues of Buddha with them on two white horses. Pleased with their arrival in China, the king built a temple in their honour and named it the White Horse Temple or Baima Temple, as an appreciation of the white horses that had carried the monks. The monks resided at the new temple and here they translated the Buddhist scriptures into the Chinese language.

Dyer, C. Standards of Living in the Later Middle Ages: Social Change in England, C. 1200-1520, Cambridge: CUP, 1989, p.87. Dyer adds that the poem's first editor, Gollancz, incorrectly imposed a modern, capitalist perspective by feeling that the poet had "missed an opportunity" and that Wynnere should have won the debate. The poem is clearly within both the strong mediaeval tradition of the poetic debate, in which two opposing positions are argued, and within the tradition of the "dream vision", in which the narrator falls asleep and witnesses an event often with an allegorical character (such as in several of Geoffrey Chaucer's poems, or in Piers Plowman). It also has something in common with the genre of the chanson d'aventure, in which the solitary, wandering poet overhears a complaint or debate.

Such an approach was used by Edith Wharton in her novella Ethan Frome, in which a nameless narrator hears from many characters in the town of Starkfield about the main character Ethan's story. A specialized form of the frame is a dream vision, where the narrator claims to have gone to sleep, dreamed the events of the story, and then awoken to tell the tale. In medieval Europe, this was a common device, used to indicate that the events included are fictional; Geoffrey Chaucer used it in The Book of the Duchess, The House of Fame, Parlement of Foules, and The Legend of Good Women (the last also containing a multi-story frame story within the dream). In modern usage, it is sometimes used in works of fantasy as a means toward suspension of disbelief about the marvels depicted in the story.

A great deal of critical discussion has taken place since the poem was first published in the late 19th century on the question of what genre the poem belonged to. Early editors, such as Morris, Gollancz and Osgood, took it for granted that the poem was an elegy for the poet's lost daughter (presumed to have been named Margaret, i.e. 'pearl'); a number of scholars however, including W. H. Schofield, R. M. Garrett, and W. K. Greene, were quick to point out the flaws in this assumption, and sought to establish a definitive allegorical reading of the poem. While there is no question that the poem has elements of medieval allegory and dream vision (as well as the slightly more esoteric genre of the verse lapidary), all such attempts to reduce the poem's complex symbolism to one single interpretation have inevitably fallen flat.

One night when Mickey is fast asleep, he falls into a dream where a mischievous ghost traps a dream vision of himself inside a magic mirror. Stuck in an alternate universe that strangely resembles his own house, Mickey yearns to get back through the mirror to his own house and his own bed in order to wake up from this dreamlike state; however, the ghost destroys the mirror and the pieces shrink and fly off to different areas around the house, which turns the magic mirror into a normal mirror. The player must direct Mickey to outwit and pull gags in order to get past enemies, obstacles, and the aforementioned ghost and recover the twelve broken mirror pieces he needs to go home again and search for twelve magic stars (needed to pull gags) and items needed to help him throughout his quest. Whenever he finds a piece, it will fly back to the mirror, return to its normal size, and put itself back in place.

The text proposes that it is perfectly normal to have nightly visions in which one sees things that are never seen while awake, but that it is a great stupidity to believe that the events experienced in the dream vision have taken place in the body. Examples are adduced, of Ezechiel having his prophetic visions in spirit, not in body, of the Apocalypse of John which was seen in spirit, not in body, and of Paul of Tarsus, who describes the events at Damascus as a vision, not as a bodily encounter. The text concludes by repeating that it should be publicly preached that all those holding such beliefs have lost their faith, believing not in God but in the devil, and whosoever believes that it is possible to transform themselves into a different kind of creature, is far more wavering (in his faith) than an infidel ('; to which Burchard added: "and worse than a pagan", ').

Stjörnu-Odda draumr (Star-Oddi's Dream) is a þáttr (short Old Norse-Icelandic tale) which recounts the dream-vision of Oddi Helgason, a twelfth-century Icelandic farmer and astronomer. It is considered to be "a literary tour de force and altogether unique in the saga corpus" because of its saga-within-a- dream narrative. The saga records that Oddi dreams that a guest arrives at his home and starts telling a legendary saga set in Götaland; during the course of the dream Oddi steps into this saga and becomes one of its characters: > Now as soon as this man Dagfinn was named in the saga, the story goes that > something very strange happened in Oddi's dream. Oddi himself thought he was > this man Dagfinn, whereas the guest – the man who was telling the saga – is > now out of our saga and out of the dream; and then Oddi thought that he > himself could see and perceive everything which came afterwards in the > dream.