131 Sentences With "epigrammatic" | Random Sentence Generator

Would you like to sign off with something pithy and epigrammatic?

Twitter's epigrammatic styles change rapidly; grammar itself is a meme there.

Anchoring the melange is Godard giving an epigrammatic narration in his gruff voice.

The fourth "grace-note"—enigmatic, epigrammatic—links each four-part section to the next.

It's as if expansive Mahlerian phrases are condensed into short, epigrammatic gestures, almost fragments.

They read like epigrammatic part-fairy tales — charmers that can turn dark and occasionally bloody.

Charismatic and epigrammatic, Dr. Oxman speaks as if in capital letters and long, enticing, musical paragraphs.

But at several moments, he produces lines of epigrammatic clarity that echo the lucidity of his photographs.

Brooks writes with clarity and epigrammatic wit, but the random oscillations of her views may annoy some readers.

Mr. Lewis wrote elegant, epigrammatic compositions that integrated the counterpoint of chamber music into a hard-bop framework.

"I Contain Multitudes," his first book, covers a huge amount of microscopic territory in clear, strong, often epigrammatic prose.

He explained this once in a comment so casual and epigrammatic that I knew it instantly to be true.

Her epigrammatic verse is spare, the offspring of classical aphorism (if you're feeling generous) and the language of self-help.

He draws particular inspiration from works collected in the manuscript that give bits of epigrammatic wisdom between insistent returns to a refrain.

In his own prose Reid sounds like Wilson and Kazin, sharing their capacious curiosity and emulating their stylistic momentum, epigrammatic solemnity and wryness.

Stritch so identified with this glamorously epigrammatic character that she for a time lived on Beekman Place, where Mame was said to live.

Although those epigrammatic sentences can be arresting—"Nothing is so firmly believed as that which a man knoweth least"—Montaigne doesn't think epigrammatically.

In more than 20083 volumes of poetry, Mr. Berkson developed a freewheeling, idiosyncratic style that could be, by turns, conversational, epigrammatic, elliptical, whimsical and surreal.

Bound in Easter egg colors with sparkling celestial graphics and interchangeable subtitles, the books have branded their epigrammatic author into a tidier, more wholesome package.

Sitting down for an interview at a nearby hotel earlier that day, a pastel scarf slung around his neck and a thicket of white hair tousled on his head, he had been similarly epigrammatic.

Wasserstein's studies of wistfully single women are clearly a source of inspiration for Mr. Harmon.) He received limited but epigrammatic screen time (in the person of Nathan Lane, dishing with Michelle Pfeiffer) in "Frankie & Johnny" (1991).

Ungar is epigrammatic ("The goal is to break without being broken"), understatedly funny ("Getting food from the biosphere into the mouth can be a challenge"), and succinct about why such an unprepossessing topic should command our attention.

The author of "Under the Sea" is also a poet, and his extended verse "Romantic Comedies" consists of a series of epigrammatic lines describing couples who, by the logic of the genre, are simultaneously destined and doomed.

" He has reduced the failure of his two marriages to epigrammatic scale: "They weren't happy when I wasn't doing good, and when I was doing good they wasn't happy because I was on the road all the time.

In the englyn pile that is Madrid's poem "Cold Spring," for example, the mind might be teased into wondering about the relation between the stanza's opening images and the epigrammatic wisdom that follows: Cold spring and a starling's neck.

Thanks to the overwhelming clarity of his positions, the bewitching nature of his epigrammatic style and the already-powerful international movement for Modernism, the impact he had on a rising generation of Japanese architects would prove to be immense.

The story she constructed, set in the summer of 1938, keeps you wanting to know more, particularly as we are brought closer to La Prairie and its house party of gilded expats, one more lithe, epigrammatic and oblique than the next, united only by their reliance on Sara and by their self-absorption.

This Be the Verse Your affection for Charles Simic's epigrammatic gems put me in mind of the uncategorizable work of a clutch of poets and an essayist-novelist whose distillations of experience and philosophical style match the tone and structure of diary entries, even if their work does not strictly adhere to the genre.

The fictions collected in Almost No Memory, Samuel Johnson is Indignant, Varieties of Disturbance, and, most recently, Can't and Won't, are the Davis I suspect most readers know: epigrammatic confections, one-liners, bits of found text, dense little narratives like some space-age vision of astronaut food: a three-course meal in one easy-to-swallow capsule.

A sizable dollop of the text, truth be told, is given over to fin de siècle score-settling, mostly at the expense of critics and academicians, but it is nonetheless a surprise to encounter the Wild One's sentimental defense of stodgy old Jean-Auguste-Dominique Ingres, or his praise of Camille Pissarro as "a virgin who had many children but remained a virgin despite the seductions of money and power," or his two-line epigrammatic (if not gnomic) endorsement of Paul Cézanne: Apples, Rembrandt?

In "For a Coming Extinction," part of his acclaimed 1967 verse collection, "The Lice," he wrote: Gray whale Now that we are sending you to The End That great god Tell him That we who follow you invented forgiveness And forgive nothing I write as though you could understand And I could say it One must always pretend something Among the dying When you have left the seas nodding on their stalks Empty of you Tell him that we were made On another day Stylistically, Mr. Merwin's mature work was known for metrical promiscuity; stark, sometimes epigrammatic language; and the frequent use of enjambment — the poetic device in which a phrase breaks over two consecutive lines, without intervening punctuation.

Posidippus of Pella ( Poseidippos; c. 310 – c. 240 BC) was an Ancient Greek epigrammatic poet.

He made contributions in the fields of Greek epigrammatic poetry, Greek metrology and numismatics, and in his later years, he focused his energies towards ancient Greek epigraphy.

"What Is Not But Could Be If" was a 'totally different kind of writing' for Berman, and he compared it to bands that sang slogans and epigrammatic writing.

Ivan Andreyevich Krylov (; February 13, 1769 – November 21, 1844) is Russia's best-known fabulist and probably the most epigrammatic of all Russian authors.Janko Lavrin. Gogol. Haskell House Publishers, 1973. Page 6.

At a council meeting, Tsar Ivan and his cruel epigrammatic minister Prince Paul Maraloffski criticise Tsarovitch Alexis's democratic leanings, but the Tsar is assassinated by Michael after the Tsarovitch opens the window.

Nicaenetus of Samos () was a Greek epic and epigrammatic poet of the 3rd century BC, an Abderite who lived in Samos island. There are four epigrams of his in the Greek Anthology.

Adaeus, or Addaeus (Greek: Ἀδαῖος or Ἀδδαῖος), a Greek epigrammatic poet, a native most probably of Macedonia. The epithet Μακεδών is appended to his name before the third epigram in the Vat. MS. (Anth. Gr. vi.

His literary position is that of an indignant but despairing opponent of Christianity. # The fourth or Byzantine style of epigrammatic composition was cultivated at the court of Justinian. The diction of Agathias and his compeers is ornate.

1696 title page Essayes: Religious Meditations. Places of Perswasion and Disswasion. Seene and Allowed (1597) was the first published book by the philosopher, statesman and jurist Francis Bacon. The Essays are written in a wide range of styles, from the plain and unadorned to the epigrammatic.

Hennock 1973, pp. 77–8. At the monthly Town Crier dinners Harris is described as being "amusingly epigrammatic".Anderton 1900, p. 135. He afterwards became an active (but still anonymous) leader-writer for the Birmingham Daily Post under the editorship of his friend, J. T. Bunce.

"They are characterized by brevity, by a key-word, by epanaphora [i.e., repetition], and by their epigrammatic style.... More than half of them are cheerful, and all of them hopeful." As a collection, they contain a number of repeated formulaic phrases, as well as an emphasis on Zion.

Hedylus (, Hḗdylos), son of Melicertus and Hedyle, a native of Samos or Athens, was an epigrammatic poet. His epigrams were included in the Garland of Meleager (Prooem. 45.) Eleven of them are in the Greek Anthology, but the genuineness of two of these (ix. and x.) is very doubtful.

Pliny's writing style emulates that of Seneca.Cf. Trevor Murphy, Pliny the Elder's Natural History: The Empire in the Encyclopedia, OUP (2004), pp. 181–197. It aims less at clarity and vividness than at epigrammatic point. It contains many antitheses, questions, exclamations, tropes, metaphors, and other mannerisms of the Silver Age.

Arcadia is, on the surface, somewhere between a tragedy and a comedy. It involves some elements of classical tragedy – "noble" characters and the audience's foreknowledge of Thomasina's death – but the predominant element is comedy, in the way that the characters interact with each other and in their witty, epigrammatic dialogue.

Kirby described Drake's lyrics as a "series of extremely vivid, complete observations, almost like a series of epigrammatic proverbs", though he doubts that Drake saw himself as "any sort of poet". Instead, Kirby believes that Drake's lyrics were crafted to "complement and compound a mood that the melody dictates in the first place".

They are often written in the plain style and were evidently influenced by the epigrammatic tradition of Catullus, Martial (whom he translates) and J. V. Cunningham, including their social satire and sometimes risqué humor. The most frequent themes are loneliness, age, love, death, physics and religion. The French poems are all epigrams.

He did not write any books, although he edited a British edition of Edward Robinson's Lexicon of the Greek New Testament in 1838 and published a few lectures. Rather, Duncan described himself as "just a talker,"Brentnall, Just a Talker, xvi. and had a "genius for epigrammatic wisdom."Macleod, Scottish Theology, 283.

Oxford Music Online. Oxford University Press. Web. retrieved 18 Aug. 2013. . "Obizzis music is well crafted and shows mastery not only in the fusion of affective madrigalian techniques with lilting tunefulness within the same strophic aria, but also in the way short epigrammatic madrigal texts are dramatized through clever repetitions of text and music.".

The film received mixed reviews when first released, but its reputation has grown over the years. In a 1961 article in Kulchur and later reprinted in her first book, Pauline Kael praised the movie’s performances and its “sensuous camerawork,” “extraordinary romantic atmosphere,” and “polished, epigrammatic dialogue.”Kael, Pauline (1965). I Lost It at the Movies.

June 24, 2001. In another screen, Flowering Plants of Summer, Hughes suggested that Hoitsu "possessed epigrammatic powers of observation," as demonstrated in another screen, Flowering Plants of Summer, in which "the fronds bend and bow under the summer rain, weaving a delicate lattice of green against the now tarnished silver ground."Hughes, Robert. "Spare Clarity," Time.

Abraham Gotthelf Kästner (27 September 1719 - 20 June 1800) was a German mathematician and epigrammatist. He was known in his professional life for writing textbooks and compiling encyclopedias rather than for original research. Georg Christoph Lichtenberg was one of his doctoral students, and admired the man greatly. He became most well known for his epigrammatic poems.

Dougherty's speech, described as "eloquent, epigrammatic, and fascinating," introduced him to a national audience. The next day, Hancock was nominated, but was defeated in the general election in November. After the election, Dougherty continued his successful legal career. In 1887, he represented New York alderman Thomas Cleary in a bribery case, and Cleary was found not guilty.

Vitruvius lists specifically "poultry, eggs, vegetables, and other country produce".de Architectura, VI:7:4 Xenia motifs are typically found in reception rooms. The word xenia is Greek, and means 'hospitality'; in Latin, it came to mean presents for guests, and later presents in general. It also came to include a class of epigrammatic inscription attached to the presents, xenia epigrams.

The Guardian said the work was "a history of ideas, not a historical narrative; it is an interpretation, not a description of what happened". The review praised Barzun for writing in "a light, lucid, epigrammatic style", but described his judgments of historical figures as "at best otiose and...[at times] ludicrously banal."Stephen Moss, "The Age of Entropy". The Guardian, March 2, 2001.

Colton's books, including collections of epigrammatic aphorisms and short essays on conduct, though now almost forgotten, had a phenomenal popularity in their day. Toward the end of 1820, Colton published Lacon, or Many Things in Few Words, addressed to those who think., in a small cheap edition. It attracted attention and praise, however, and five additional printings were issued in 1821.

'Diogenian', preface to Proverbs, cited by David Campbell's translation, Greek Lyric IV, Loeb Classical Library (1992), pages 93, 97 The latter proverb was also used by Simonides,Simonides frag. 514, cited by David Campbell, Greek Lyric III, Loeb Classical Library (1991), page 380 whose rivalry with Timocreon seems to have inspired the abusive 'epitaph' quoted earlier and the epigrammatic reply from the Rhodian poet in A.P. 13.31.

He also wrote an epilogue spoken by the same actor at Drury Lane on his return from France; and another epilogue, filled with pertinent allusions to the game of quadrille, spoken by Mrs. Yates at her benefit in 1769, 1770 and 1774. He was likewise the author of a pathetic elegy on his own recovery from a dangerous illness, and of some pleasant tales and epigrammatic poems.

Harvey Shapiro (January 27, 1924 – January 7, 2013) was an American poet and editor of The New York Times. He wrote a dozen books of poetry from 1953 to 2006, writing in epigrammatic style about things in his everyday life. As an editor, he was always affiliated with The New York Times in some capacity, mainly in the magazine and book reviews, from 1957 to 2005.

Parmenion was a Macedonian epigrammatic poet, whose verses were included in the collection of Philip of Thessalonica in Greek Anthology ; whence it is probable that he flourished in, or shortly before, the time of Augustus. Brunck gives fourteen of his epigrams in the Analecta (vol. ii. pp. 201–203), and one more in the Lectiones (p. 177; Jacobs, Antli. Graec. vol. ii. pp. 184–187).

In 1957, two translations of the Kural were published in Malayalam. The first one was by Sasthamangalam Ramakrishna Pillai of Trivandrum. Although he completed the translation with a comprehensive commentary and notes in 1933, he published it only in September 1957 with abridged commentary under the title "Ramakrishna Tirukkural." Ramakrishna chose a short metre similar to the original Kural, reflecting the epigrammatic qualities of the original.

H. M. Lippincott, secretary., p. 150 Admitted to candidacy for the doctorate in 1895, Charles M. Magee graduated A.M. in 1904, and was awarded a Ph.D. in 1905 for his thesis “The Epigrammatic Art of the Classical School of the Seventeenth and Eighteenth Centuries”. During this time he taught variously as Professor of Mathematics, Hebrew, New Testament Greek and English at Temple College, Philadelphia, from 1897-1901.

Subhashitas are structured in pada-s (Sanskrit: पद, or lines) in which a thought or a truth is condensed. These epigrammatic verses typically have four padas (verse, quatrain), are poetic and set in a meter. Many are composed in the metrical unit called Anuṣṭubh of Sanskrit poetry, making them easy to remember and melodic when recited. But sometimes Subhashitas with two pada-s or even one pada proclaim a truth.

241; also Harvey 1980, pp. 1–2. Thomas Campbell, c. 1820, portrait by Sir Thomas Lawrence Despite the popular acclaim, "The Pleasures of Hope" did not gain critical favour, Hazlitt being one of the disapproving critics. In his 1818 Lectures on the English Poets, he heaped scorn on the poem's sacrificing "sense and keeping in the ideas" to a "jingle of words and epigrammatic turn of expression".Hazlitt 1930, vol.

Raymond Hill defined an enueg as "the enumeration in epigrammatic style of a series of vexatious things". He finds the genre continued in later medieval Catalan, Italian, French, and Galician-Portuguese literature. Ernest Wilkins considered William Shakespeare's Sonnet LXVI an example of an English enuig, citing also example from Petrarch. Richard Levin considers the anonymous English poem beginning "Whear giltles men ar greuously opreste" to be an enuig.

Pro Esperanto. Vienna, 1993. . 225 p. The text also features occasional detailed explanations of the various elements of the whole, such as the attractions of the city of Babylon. The metrical structure that lends fluency to these descriptions also endows with a certain majesty the few epigrammatic expressions of conventional sentiments, such as Hazardo suverenas sur nia mondo drakone, ‘It is Chance that holds draconian sway over our world’.

His Die Gedichte Reinmars von Zweter ("Poetry of Reinmar von Zweter") formed the basis for research involving the history of Middle High German Sangspruchdichtung (epigrammatic poetry). From 1908 onward, he was tasked with reorganization of the "Deutsches Wörterbuch" of the Brothers Grimm. From 1891 to 1926, with Edward Schröder, he was editor of the "Zeitschrift für deutsches Altertum und deutsche Literatur". In 1921 he was named president of the Goethe Society.

Thallus of Miletus (), was an epigrammatic poet, five of whose epigrams are preserved in the Greek Anthology. Of these the first is in honour of the birthday of a Roman emperor, or one of the imperial family, on which account Bovinus supposes the poet to be the same person who is mentioned in an extant inscriptionCIL, VI, 8790 as a freedman of Germanicus.(Mem. de VAcad. des Inscr. vol. iii. p.

"Utility and progress" was his favourite motto. Quain's renown as a physician was due not only to the sound commonsense that he brought to bear in diagnosis, but also to the good-humoured geniality that he showed to patients and friends, He was famous for his epigrammatic quotes, and regarded as a fine raconteur and club member of the Garrick and Athenaeum, his broad Irish accent adding colour to the stories he told.

SamusPolybius, Rome, and the Hellenistic world: Essays and Reflections (2006), page 134 by Frank William Walbank () or Samius or Simmias, son of Chrysogonus was a Macedonian lyric and epigrammatic poet. He was brought up with Philip V, the son of Demetrius, by whom also he was put to death, but for what reason we are not informed.Polyb. v. 9, xxiv. 8. He therefore flourished at the end of the 3rd century BC. Polybiusv.

Portrait by alt= Her first book, the brief, epigrammatic Some Emotions and a Moral, was published in 1891 in T. Fisher Unwin's Pseudonym Library. With its accounts of unhappy marriage and infidelity, it was an immediate hit.Martin Seymour-Smith, Hardy (1994) p. 477 Following it were similarly bohemian novels like The Sinner's Comedy (1892), A Study in Temptations (1893), A Bundle of Life (1894), and The Gods, Some Mortals, and Lord Wickenham.

101 Nietzsche credits Sallust in Twilight of the IdolsNietzsche, Twilight of the Idols, s. 13.1 for his epigrammatic style: "My sense of style, for the epigram as a style, was awakened almost instantly when I came into contact with Sallust" and praises him for being "compact, severe, with as much substance as possible, a cold sarcasm against 'beautiful words' and 'beautiful sentiments'." Henrik Ibsen's first play was Catiline, based on Sallust's story.

The poem consists of five verses. Aside from the first verse, all follow the rhyme scheme A-B-A-A-B. The rhythms have been compared by Birgit Lermen and Matthias Loewen to those of the earlier works of Bertolt Brecht, as well as the form of a Volkslied (folk song), where the simple and repetitive form contrasts with the subject of intellectual resignation. The simple style is at times both colloquial and epigrammatic.

Cernuda's last book of poems is a summing up of his career. It was published in Mexico in November 1962. It mingles poems in the style of his first book with epigrammatic works and extended reveries in his mature style. In "Niño tras un cristal", he completes a cycle of poems about the unawareness and hope of a child before its corruption by the world - a theme present right from the start of his poetic career.

Theodoridas of Syracuse () was a lyric and epigrammatic poet from Syracuse, who is supposed to have lived at the same time as Euphorion, that is, about 235 BC; for, on the one hand, Euphorion is mentioned in one of the epigrams of Theodoridas,Ep. ix and, on the other hand, Clement of Alexandria quotes a verse of Euphorion , where Schneider suggests the emendation .Clement of Alexandria, Stromata v. p. 673 He had a place in the Garland of Meleager.

Doubleday, Doran & Company, 1936, cover by Kurt Wiese. All the Mowgli Stories is a collection of short stories by Rudyard Kipling. As the title suggests, the book is a chronological compilation of the stories about Mowgli from The Jungle Book and The Second Jungle Book, together with "In the Rukh" (the first Mowgli story written, although the last in chronological order). The book also includes the epigrammatic poems added to the stories for their original book publication.

His more serious literary contemporaries nicknamed it "Letters of a Dandy to a Dolly." In 1827 in Crockford House, he wrote a satire on the high play then in vogue. Byron characterized him as "the best sayer of good things, and the most epigrammatic conversationist I ever met "; Sir Walter Scott wrote of him as "the great London wit," and Lady Blessington described him as the one talker "who always makes me think." Luttrell died in London on 19 December 1851.

In 1866 Fioravanti was made the honorary director of the Real Albergo dei Poveri music school which came with free food and lodging. The following year, he was given the actual directorship and a small monthly salary was added. A serious illness in 1872 forced him to give up the position, although the music school continued to pay his salary and provide food and lodging for the rest of his life. In his final years he passed the time writing epigrammatic verses.

The rhetorical devices he most favoured were repetition (both in the forms of anaphora and epizeuxis), parallelism, antithesis, and the use of sententiae, or gnomic sayings. He had a rich vocabulary, could employ an almost epigrammatic irony, and, while conforming to the conventions of poetic art, gave an appearance of spontaneity to his verse. His style was neat, lively, and essentially simple. His poem is sometimes garrulous, but moderately so by medieval standards, and he avoids the other medieval vice of exaggeration.

The poem has the return of the prodigal son to his parents in its center, and summarises Pilinszky's poetic world from his experiences in the lagers to his alienation and the painful absence of God from the world. From 1960 to 1970, he traveled the United States and Europe taking part in several poetry readings. In 1971 he was awarded the József Attila Prize for his collection entitled ("Metropolitan Icons"). His monumental and visionary poems gave way to short, epigrammatic verses over time.

Late works of particular note nearly all exhibit his leanings toward 'the mysterious East', from In The Spice Markets of Zanzibar for the brass quintet to Lyrics from the East for tenor and piano (a short epigrammatic song-cycle based on Eastern poems). One of his last works was El Tango Ultimo for symphony orchestra. Also among these last compositions is Vale, Diana!, a tribute to Diana, Princess of Wales, scored for string orchestra, and his Dirge for St Patrick's Night.

His marriage in 1851 had made him independent, and he bought a small property at Pillnitz, on which, soon after his return from a residence of several years at Nuremberg, he died. Hammer wrote, besides several comedies, a drama Die Brüder (1856), a number of unimportant romances, and the novel Einkehr und Umkehr (Leipzig, 1856); but his reputation rests upon his epigrammatic and didactic poems. His Schau um dich, und schau in dich (1851), which made his name, has passed through more than thirty editions.

The following couplet affords a good example of Umm Nizar's style as depicted by Khulusi. : We have become so used to weakness; : And felt so contented and at home with our misfortune, : That we do not aspire in our life to anything : Save a skirt and a mirror! Umm Nizar is followed into print by a number of other women including her daughter Nazik Al-Malaika, who writes emotional, imaginative and rebellious odes. Lami'a 'Abbas 'Amara is noted for her humour and epigrammatic lines.

De Verginitate, seen as the most important of his many writings in the Latin language, was published in three volumes in 1524 in Paris. When this, and others of his works, were published by Giuseppe Vernazza in 1778, they were described by The London Review of English and Foreign Literature as being ‘of the heroic, epigrammatic, and erotic kind, written with great elegance and purity’.George Crabb, Universal historical dictionary, enlarged edn, 2 vols (London: Baldwin and Cradock, and J. Dowding, 1833), I, s.v.

Dave Bonta, "10 Questions on Poets & Technology" , June 29, 2010. A subsequent notice linked to an example of micropoetry by another user, which was clearly lyrical but didn't appear to fit any preexistent form such as haiku or tanka. While short poems are most associated with the haiku, the emergence of microblogging sites in the 21st century created a modern venue for epigrammatic verse. Daily haiku journal tinywords was one of the earliest proponents,Dave Bonta, "Of words and birds, Tweety and otherwise", November 12, 2009.

In 1925 he was appointed a Fellow of Corpus Christi College and editor of the Cambridge Review.'Canon Charles Smyth: Great preacher and defender of the Anglican tradition', The Times (31 October 1987), p. 10.'Charles Smyth', Westminster Abbey website, retrieved 9 January 2020. He was regarded as one of the most brilliant and promising of the younger members of the High Table and was noted, according to The Times, for his "incisive and epigrammatic conversation and for the vigour of his Tory radical opinions".

His work focuses on the subject of death and suffering and is mainly composed in the form of lucid and epigrammatic poetry. The humanity sung in his writings is the dramatic life of boxers, suicides, defeated heroes and the disabled. In 2016 he published Last words (Skira Rizzoli) a collection of found poetry in association with Andres Serrano.. His work has been inspired by the Greek lyric poets Archilochus and Theocritus, the Romantics Percy Bysshe Shelley and John Keats and the Russian poets Sergei Yesenin and Alexander Alexandrovich Blok.

Eugene Luther Gore Vidal (; born Eugene Louis Vidal, October 3, 1925 – July 31, 2012) was an American writer and public intellectual known for his epigrammatic wit, patrician manner, and polished style of writing. Vidal was openly bisexual and his novels often dealt with LGBT characters, which was unusual at the time. Beyond literature, Vidal was heavily involved in politics. He twice sought office—unsuccessfully—as a Democratic Party candidate, first in 1960 to the United States House of Representatives (for New York), and later in 1982 to the U.S. Senate (for California).

Born in Breslau (Wrocław) in Silesia to a Lutheran merchant, Quirinus Kuhlmann studied at the Magdalena-Gymnasium with the help of a scholarship, as his father had died when Kuhlmann was young. As a boy, Kuhlmann suffered from a speech impediment and was often mocked for his condition. Some scholars believe that this may have been why he began to frequent Breslau's libraries from an early age. Kuhlmann's first book Unsterbliche Sterblichkeit of 100 epigrammatic Alexandrine quatrain epitaphs was published in 1668, before he left for the University of Jena in September 1670.

His narratives used irony and humour to entertain as well as inform. He examined history from odd angles, exposing what he considered to be the pomposities of various historical characters. He was famed for "Taylorisms": witty, epigrammatic, and sometimes cryptic remarks that were meant to expose what he considered to be the absurdities and paradoxes of modern international relations. An example is in his television piece Mussolini (1970), in which he said the dictator "kept up with his work – by doing none"; or, about Metternich's political philosophies: "Most men could do better while shaving".

A subhashita (, subhāṣita) is a literary genre of Sanskrit epigrammatic poems and their message is an aphorism, maxim, advice, fact, truth, lesson or riddle.L. Sternbach (1973), Subhashita - A forgotten chapter in the histories of Sanskrit literature, in Indologica Taurinensia, Torino, Vol I, pp. 169-254 Su in Sanskrit means good; bhashita means spoken; which together literally means well spoken or eloquent saying.subhASita Sanskrit English Dictionary, University of Koeln, Germany Subhashitas in Sanskrit are short memorable verses, typically in four padas (verses) but sometimes just two, but their structure follows a meter.

He wrote in 1962 that "Summerhill is clearly one of England's greatest schools" and that the decline of this experimental school tradition was a tragedy. Still, Deutsch (Journal of Individual Psychology) wrote that Summerhill had not been "duplicated" in the four decades since its creation. The Booklist noted Neill's "scant credit" awarded to prior progressive and experimental schools, and added that the addition of a British inspection report added objective credibility to the book. Hartup (Contemporary Psychology) described Neill's style as "bewitchingly direct, even epigrammatic" though also "patchy", leaving many discussions incomplete.

He was a prominent member of the Methodist Church, and, on account of his eloquence, was often in earlier life advised to become a minister. Her mother, of a practical, common-sense temperament, had much appreciation of nature and of scientific fact, and a gift for witty and concise expression of thought. So from both parents Claflin derived the ability to speak with clearness and epigrammatic force. She was a graduate of the Boston Girls' High School, 1862; did private study with Harvard University professors, 1864–65; and graduated from Meadville Theological School, 1896.

Then in 1858 he produced a miscellaneous collection called "Dry Sticks Fagoted by W. S. Landor," which contained among other things some epigrammatic and satirical attacks which led to further libel actions. In July that year Landor returned to Italy for the last six years of his life. He was advised to make over his property to his family, on whom he now depended. He hoped to resume his life with his wife and children but found them living disreputably at the Villa Gherardesca and ill-disposed to welcome him.

His clear, epigrammatic style was the very style to command the attention of young men. He was a very strict disciplinarian, and the kindest of friends and counsellors to all pupils who sought his aid in confidence, as many of them have testified to the present writer. Canon Ashwell was a staunch and very definite English churchman. Besides the writings already mentioned, he published 'The Schoolmaster's Studies' (1860), 'The Argument against Evening Communions' (1875), 'Lectures on the Holy Catholic Church' (1876), and 'Septuagesima Lectures' (1877), all small works.

His doctoral thesis was about the poetry work Der Ackermann aus Böhmen. In 1972, he accepted a visiting professorship at the University of Salzburg. In 1973, he was appointed to the University of Regensburg, where he thenceforth until his retirement worked as a professor of Early German Literature until 1999. His research interests are the literature of the late Middle Ages and the early modern period, the literature of the Reformation (especially of Martin Luther), spiritual and ecclesiastical songs from the beginning to the present, minstrelsy, and epigrammatic poetry (especially Walther von der Vogelweide).

Brooks was born in Pancras, London, the elder son of Shirley Brooks, the satirical writer and editor of Punch, and Emily Walkinshaw Brooks. Brooks' father died in 1874; Reginald Shirley Brooks collated some of his father's satirical writing for Punch about a pompous middle-class couple called The Naggletons into book form and it was published the following year. A further volume of his father's epigrammatic verses was published under the title of Wit and Humour and reviewed in 1884. Brooks became a writer and journalist himself, joining The Sporting Times no later than 1876.

His familiarity with Athenian tragedy is demonstrated in a number of passages echoing Aeschylus's Persae, including the epigrammatic observation that the defeat of the Persian navy at Salamis caused the defeat of the land army (Histories 8.68 ~ Persae 728). The debt may have been repaid by Sophocles because there appear to be echoes of The Histories in his plays, especially a passage in Antigone that resembles Herodotus's account of the death of Intaphernes (Histories 3.119 ~ Antigone 904–920). However, this point is one of the most contentious issues in modern scholarship.Richard Jebb (ed), Antigone, Cambridge University Press, 1976, pp.

The dīwān of Ibn al-Farid (1181-1234) contains fifty-four riddles, of the mu'amma type.Murat Tala, 'Arap Şiirinde Lügaz ve Muʿammânın Yapısı: İbnü’l-Fârız’ın Dîvân’ına Teorik Bir Bakış' [The Structure of Lughz and Muʿammā in Arabic Poetry: A Theoretical Overview on Ibn al-Fāriḍ’s Dīwān], Cumhuriyet İlahiyat Dergisi/Cumhuriyet Theology Journal, 22.2 (December 2018), 939-67. A vast collection of epigrammatic riddles on slave-girls, Alf jāriyah wa-jāriyah, was composed by Ibn al-Sharīf Dartarkhwān al-‘Ādhilī (d. 1257).For the principal edition of part of the text, with references to publications of many shorter excerpts, see Mädchennamen — verrätselt.

The Irish proverbial material is almost devoid of any national blasons populaires, with the possible exception of the multi-group international comparison. These comparisons are often manifested in epigrammatic form in European languages, with the most salient and representative stereotypical trait being attributed to the nations involved (what Billig (1995) refers to as ‘banal nationalism’). Enumerative structures, usually tri- or quadripartite formulas, are the favoured apparatus. The syntactic and semantic juxtaposition of negative traits for comparative purposes is then counter-balanced by the positive representation of one nation, usually in final position, most commonly the in-group that invokes the comparison.

Alfred Edward Housman (; 26 March 1859 – 30 April 1936), usually known as A. E. Housman, was an English classical scholar and poet, best known to the general public for his cycle of poems A Shropshire Lad. Lyrical and almost epigrammatic in form, the poems wistfully evoke the dooms and disappointments of youth in the English countryside. Their beauty, simplicity and distinctive imagery appealed strongly to Edwardian taste, and to many early 20th-century English composers both before and after the First World War. Through their song-settings, the poems became closely associated with that era, and with Shropshire itself.

Earle's chief title to remembrance is his witty and humorous work, Microcosmographie, or a Peece of the World discovered, in Essayes and Characters, which throws light on the manners of the time. First published anonymously in 1628, it became very popular, and ran through ten editions in the lifetime of the author. The style is quaint and epigrammatic: "A university dunner is a gentlemen follower cheaply purchased, for his own money has hyr'd him." Several reprints of the book have been issued since the author's death; and in 1671 a French translation by James Dymocke appeared with the title of Le Vice ridicule.

In spite of the many demands upon his time and strength, the industrious monk exhibited a many-sided literary activity. He is best known as a poet, ten volumes of lyric, didactic, and dramatic verse testifying to his prolific poetical talent. Endowed by nature in so many directions, it has been said that in his poems, "he shows himself now as a childlike pious monk, now as a good-natured humorist, now a man fully conversant with worldly affairs, and often as a keen satirist, forceful and epigrammatic in expression." Though Morel may not rank among the princes of verse, still his modest muse produced many a poem of enduring worth.

He was also a finalist for the Northern California Book Critics Award in 2005 and a year later was selected for a Witter Bynner Fellowship in poetry from the Library of Congress. Varied in subject and form, Stroud’s poems include six-line lyrics, narrative prose poems, odes, homages, sustained contemplations, suites, and brief epigrammatic offerings. However it is substance, whatever form it takes, that interests him. His poetry articulates a voyage through places and times and voices, often sifting through the details of daily life, searching for miracles (“Inside the pear there’s a paradise we will never know, our only hint the sweetness of its taste.” - Comice, Below Cold Mountain).

In 2003 she was awarded the Alden Nowlan Award for Excellence in English Literature for "outstanding contribution to the arts in New Brunswick by a native or resident New Brunswicker". Lane's output is various in form. Her fellow poet, editor and critic Jeanette Lynes lists "long narrative poems..., dialogic poems composed in dramatic structures; spare, epigrammatic poems; ekphrasis poems; and open- form lyrics", along with "visual poems and epistolary forms" among the forms her work has taken. Lynes notes that Lane's "primary compositional investment" is in "the sonic elements of language—noise, the play of sound" rather than in the subject matter of the poem.

The authors of most Subhashita are unknown. This form of Indian epigrammatic poetry had a wide following, were created, memorized and transmitted by word of mouth.John Brough (Translator), Poems from the Sanskrit, Penguin Classics, The works of many ancient Indian scholars like Bhartṛhari (5th century CE), Chanakya (3rd century BC), Kalidasa (5th century AD), Bhavabhuti (8th century AD), Bhallata (10th century AD), Somadeva Bhatta (11th century AD), Kshemendra (11th century AD), Kalhana (12th century AD) are considered to be treasures of many valuable subhashitas. The famous Panchatantra (3rd century BC) and Hitopadesha (12th century AD) which is a collection of animal fables effectively use subhashitas to express the inherent moral wisdom of their stories.

His Archivio storico italiano (1842) was, under a different form, a continuation of the Antologia, which was suppressed in 1833 owing to the action of the Russian government. Florence was in those days the asylum of all the Italian exiles, and these exiles met and shook hands in Vieusseux's rooms, where there was more literary than political talk, but where one thought and one only animated all minds, the thought of Italy. The literary movement that preceded and was contemporary with the political revolution of 1848 may be said to be represented by four writers - Giuseppe Giusti, Francesco Domenico Guerrazzi, Vincenzo Gioberti and Cesare Balbo. Giusti wrote epigrammatic satires in popular language.

He is best known for the satirical plays Every Man in His Humour (1598), Volpone, or The Fox (c. 1606), The Alchemist (1610) and Bartholomew Fair (1614) and for his lyric and epigrammatic poetry. "He is generally regarded as the second most important English dramatist, after William Shakespeare, during the reign of James I." Jonson was a classically educated, well-read and cultured man of the English Renaissance with an appetite for controversy (personal and political, artistic and intellectual) whose cultural influence was of unparalleled breadth upon the playwrights and the poets of the Jacobean era (1603–1625) and of the Caroline era (1625–1642)."Ben Jonson", Grolier Encyclopedia of Knowledge, volume 10, p. 388.

It was of inferior quality to Meleager's. Somewhat later, under Hadrian, another supplement was formed by the sophist Diogenianus of Heracleia (2nd century AD), and Straton of Sardis compiled his elegant Μουσα Παιδικη (Musa Puerilis) from his productions and those of earlier writers. No further collection from various sources is recorded until the time of Justinian, when epigrammatic writing, especially of an amatory character, experienced a great revival at the hands of Agathias of Myrina, the historian, Paulus Silentiarius, and their circle. Their ingenious but mannered productions were collected by Agathias into a new anthology, entitled The Circle (Κυκλος); it was the first to be divided into books, and arranged with reference to the subjects of the pieces.

" Richard Alleva argues that "Pulp Fiction has about as much to do with actual criminality or violence as Cyrano de Bergerac with the realities of seventeenth-century France or The Prisoner of Zenda with Balkan politics." He reads the movie as a form of romance whose allure is centered in the characters' nonnaturalistic discourse, "wise-guy literate, media-smart, obscenely epigrammatic". In Alan Stone's view, the "absurd dialogue", like that between Vincent and Jules in the scene where the former accidentally kills Marvin, "unexpectedly transforms the meaning of the violence cliché ... Pulp Fiction unmasks the macho myth by making it laughable and deheroicizes the power trip glorified by standard Hollywood violence." Stone reads the film as "politically correct.

Apollonides of Smyrna () was an epigrammatic poet of ancient Greece, who lived in the time of the Roman emperors Augustus and Tiberius. The Greek Anthology contains upwards of thirty epigrams which bear his name, and which are distinguished for their beautiful simplicity of style as well as of sentiment. The philologist Johann Jakob Reiske was inclined to consider this poet as the same man as Apollonides of Nicaea, and moreover to suppose that the poems in the Greek Anthology were the productions of two different persons of the name of Apollonides, the one of whom lived in the reign of Augustus, and the other in that of Hadrian. But there is no ground for this hypothesis.

Emulating the fables of the ancient Greek Aesop, the Macedonian-Roman Phaedrus, the Polish Biernat of Lublin, and the Frenchman Jean de La Fontaine, and anticipating Russia's Ivan Krylov, Poland's Krasicki populates his fables with anthropomorphized animals, plants, inanimate objects, and forces of nature, in epigrammatic expressions of a skeptical, ironic view of the world.Zdzisław Libera, introduction to Ignacy Krasicki, Bajki: wybór (Fables: a Selection), pp. 5-10. That view is informed by Krasicki's observations of human nature and of national and international politics in his day—including the predicament of the expiring Polish–Lithuanian Commonwealth. Just seven years earlier (1772), the Commonwealth had experienced the first of three partitions that would, by 1795, totally expunge the Commonwealth from the political map of Europe.

The original sequence of the emblems is unclear, although the panels as arranged under their Latin "headings" are as originally devised. In addition to their importance for the study of emblems in general, they are significant because the Drurys were patrons of the poet and divine John Donne, who wrote his two Anniversaries following the death in 1610 of their daughter Elizabeth Drury—namely, An Anatomy of the World and The Second Anniversarie or the Progresse of the Soule. The epigrammatic and verbally or visually paradoxical themes of the paintings are, however, linked more directly to the themes and techniques of meditation developed in the writings and sermons of the preacher Joseph Hall, who was chaplain and spiritual advisor to Lady Drury at Hawstead.

His poetry was based on the value of the image to which language had to be adapted in conciseness and vividness through the use of simple and universally comprehensible symbols. Although he was eager to renew English poetry in technique and subjects, he did not deny the value of tradition and classicism: modern and Romantic sensitiveness were both present in his work. His conception of poetry was expressed in a specific Essay published in Mirrors of Illusion: poetry is essentially "a nostalgia for the infinité". Like Hilda Doolittle and Richard Aldington, he looked at the ancient Greek poetry and mythology with admiration and always maintained a classical character along with modernity in his poetry: epigrammatic poetry was a perfect synthesis of the two features.

In his review of 1954's Selected Poems of Bliss Carman, literary critic Northrop Frye compared Carman and the other Confederation Poets to the Group of Seven: "Like the later painters, these poets were lyrical in tone and romantic in attitude; like the painters, they sought for the most part uninhabited landscape." But Frye added: "The lyrical response to landscape is by itself, however, a kind of emotional photography, and like other forms of photography is occasional and epigrammatic.... Hence the lyric poet, after he has run his gamut of impressions, must die young, develop a more intellectualized attitude, or start repeating himself. Carman's meeting of this challenge was only partly successful." It is true that Carman had begun to repeat himself after Sappho.

Ko’s poems range from quiet imagistic reflections to the epigrammatic pieces in Flowers of the Moment with their haiku-like juxtapositions: Other works, however, are huge, like the seven-volume epic of the Korean independence movement under Japanese rule, Paektu Mountain (1987–94). There is also the monumental 30-volume Ten Thousand Lives (Maninbo). This was written over the years 1983-2010 to fulfil a vow made by Ko Un during his final imprisonment, when he was expecting to be executed. If he lived, he swore that every person he had ever met would be remembered with a poem. Speaking of his feelings at surviving the Korean War, when so many he knew had not, he has stated that “I'm inhabited by a lament for the dead.

While providing cartoons under the name The Ragged Philosopher for the weekly paper Diogenes, a short-lived rival to Punch, he began writing satirical sketches of London Life and wrote a book about the London slums, The Wild Tribes of London (1855), which was dramatised by Travers and successfully staged in London and Manchester. Phillips began writing his own plays, such as Joseph Chavigny, The Poor Strollers and The Dead Heart. Joseph Chavigny was accepted by Benjamin Webster and performed at the Adelphi Theatre with Webster playing the lead. While critically acclaimed, Joseph Chavigny and The Poor Strollers were not popular with the audience who were used to the farces and melodramas performed at the Adelphi and didn't take to Phillips' terse, epigrammatic dialogue.

128 "Three Years - The theme of degeneration plays out in a merchant milieu very close to the Chekhov family's own in the 1895 "Three Years" ("Tri goda"), Chekhov's second-longest narrative."Walter Horace Bruford Chekhov and His Russia: A Sociological Study 2003-0415178096 p180 "Chekhov's Three years (1895) is a small-scale Buddenbrooks, written six years before Thomas Mann's masterpiece, and eleven years before the first part of the Forsyte Saga. In his epigrammatic way, the author gives us in 130 pages, and the story of just three years, the same feeling for the inevitable differentiation of successive generations which Mann and Galsworthy elaborate at much greater length." The story takes a negative position on the progress of society, featuring individuals of the merchant and factory owner class and their workers, without offering political solutions.

He was captured during the Dunkirk evacuation and spent the rest of the war as a prisoner despite several escape attempts. Being of a professional standard in cello and with instruments provided by the Red Cross, he helped establish an orchestra in his prisoner of war camp. Having plenty of time on his hands, he was also closely involved in the prisoners' observations of nesting birds, the studies of which found their way into the Collins New Naturalist book series after the war. His war-time experience greatly affected him, however, and he turned from a pre-war "typical medical student – outgoing with a love of fast cars" to an "intensely shy and often monosyllabic" man who developed a "reputation for epigrammatic description" from which he partly recovered with the help of his wife.

The art of occasional poetry had been cultivated in Greece from an early period—less, however, as the vehicle of personal feeling than as the recognized commemoration of remarkable individuals or events, on sepulchral monuments and votive offerings: Such compositions were termed epigrams, i.e. inscriptions. The modern use of the word is a departure from the original sense, which simply indicated that the composition was intended to be engraved or inscribed. Such a composition must necessarily be brief, and the restraints attendant upon its publication concurred with the simplicity of Greek taste in prescribing conciseness of expression, pregnancy of meaning, purity of diction and singleness of thought, as the indispensable conditions of excellence in the epigrammatic style. The term was soon extended to any piece by which these conditions were fulfilled.

His second "American" triptych is highly critical of the development of American history and of America's tendencies to both imperialism and isolationism (Gore Vidal's silence about Stacton may be significant). And in his third triptych, Stacton examines, with considerable irony, the eternally fraught relationship between archetypal Man and Woman, beginning with Hindu myth, then looking comically at a famous period romance, and concluding with sad events at a film festival in the recent past. Stacton's novels are often low in dialogue, and his better novels are instead full of his witty scornful comments on his characters and life. At his best Stacton had an epigrammatic style and enjoyed a sophisticated irony, although antipathetic critics took him to task for pretentious vocabulary, a tendency to florid paradoxes, and anachronistic allusions (i.e.

The transition from the monumental to the purely literary character of the epigram was favoured by the exhaustion of more lofty forms of poetry, the general increase, from the general diffusion of culture, of accomplished writers and tasteful readers, but, above all, by the changed political circumstances of the times, which induced many who would otherwise have engaged in public affairs to addict themselves to literary pursuits. These causes came into full operation during the Alexandrian era, in which we find every description of epigrammatic composition perfectly developed. About 60 BC, the sophist and poet Meleager of Gadara undertook to combine the choicest effusions of his predecessors into a single body of fugitive poetry. Collections of monumental inscriptions, or of poems on particular subjects, had previously been formed by Polemon Periegetes and others; but Meleager first gave the principle a comprehensive application.

The main opening exhibition was of new Chinese art, The Revolution Continues: New Art From China, bringing together the work of twenty-four young Chinese artists in a survey of painting, sculpture and installation, including Zhang Huan, Li Songsong, Zhang Xiaogang, Zhang Haiying and conceptual artists Sun Yuan & Peng Yu. An accompanying book included an essay by Jiang Jiehong, director of the Centre for Chinese Visual Arts at the Birmingham Institute of Art and Design. The show exemplified Saatchi's predilection for the "rude, sensational and epigrammatic", including a "big fairground attraction" of thirteen realistic life-size figures of world leaders colliding with each other in moving electric wheelchairs. The show's focus was on political issues surrounding China's Cultural Revolution and also the contemporary political context.Adams, Stephen, "Charles Saatchi's attention-grabbing new exhibition on Chinese art", The Daily Telegraph, 6 October 2008.

Andrew Schelling (1999), Manuscript Fragments and Eco-Guardians: Translating Sanskrit Poetry, Manoa, 11(2), 106-115 According to Mohana Bhāradvāja, Subhashita in Indian Literature is a single verse or single stanza, descriptive or didactic but complete in itself expressing a single idea, devotional, ethical or erotic in a witty or epigrammatic way. Author Ludwik Sternbach describes that such wise sayings in poetic form not only contain beautiful thoughts but they also make the expressions in cultivated language. He further says that such form of Indian literature had a tinge of poetry, the poetical skill being exhibited in the intricate play of words which created a slight wit, humour, satire and sententious precepts; they arose laughter, scorn, compass and other moods. The poetic style of narration found in Subhashita is also termed as muktaka (independent), as the meaning or the mood of which is complete in itself.

Lasker has written a number of essays on art, artists, and other topics. In 1998 he compiled his texts, many of them short and epigrammatic, in Complete Essays 1984-1998, published by Edgewise in 1998. It includes “Image Kit” (1986/1998); “After Abstraction” (1986), which was written as a catalogue essay for the group exhibition What It Is at the Tony Shafrazi Gallery; “Abstraction, Past Itself” (1987), from the catalogue for the 40th Biennial Exhibition of Contemporary American Painting at the Corcoran Gallery in Washington, DC; and “The Subjects of the Abstract” (1995), written for the catalogue of the group exhibition Transatlantica: The America Europa Non-Representiva at the Museo Alejandro Otero in Caracas, Venezuela. These essays, among others, dwell on the nature of painting and often double as artists’ statements. The book also contains essays on the artists Eugene Leroy and Willem de Kooning, as well as observations on such subjects as life in New York’s East Village and horse racing at Aqueduct Racetrack.

" Detail of hourglass In addition, as noted by Estelle Lingo, "because the infant's posture can be understood as the result of his struggle to lift the drape from the tomb, the figure seems to play upon the theoretical criticism that the infant's youth made him unfit for his 'monumental' task." The putto on the left, on the other hand, appears fully absorbed in raising his side of the cloth: "only after long contemplation the viewer may notice that this infant, too, carries an attribute, the long trumpet of fame. Grasped in his left hand, the instrument is almost entirely covered by the cloth, though the outline of its flared end may be discerned beneath the drape when one looks for it. The use of an attribute so well hidden is surprising, but serves to underscore Duquesnoy's conception of the tomb as a site of meditation, an epigrammatic construction in which a few forms sustain a range of meanings.

Other passages, alluding to Domitian's love of epigrammatic expression, suggest that he was in fact familiar with classic writers, while he also patronized poets and architects, founded artistic Olympics, and personally restored the library of Rome at great expense after it had burned down. De Vita Caesarum is also the source of several outrageous stories regarding Domitian's marriage life. According to Suetonius, Domitia Longina was exiled in 83 because of an affair with a famous actor named Paris. When Domitian found out, he allegedly murdered Paris in the street and promptly divorced his wife, with Suetonius further adding that once Domitia was exiled, Domitian took Julia as his mistress, who later died during a failed abortion.Suetonius, Life of Domitian 22 Modern historians consider this highly implausible however, noting that malicious rumours such as those concerning Domitia's alleged infidelity were eagerly repeated by post-Domitianic authors, and used to highlight the hypocrisy of a ruler publicly preaching a return to Augustan morals, while privately indulging in excesses and presiding over a corrupt court.

Originally used by Jesuits as a learning aid for students, painted enigmas are visual riddles - generally speaking, a picture with an easily understood superficial subject that contains a hidden meaning, usually one word. This differed from similar visual riddles such as the emblem or hieroglyph (Horapollo's "Hieroglyphica" for instance)which were simpler in design and intended to represent moral precepts. The emblem and painted enigma were similar in that each usually contained some clue that the composition contained a hidden meaning, usually a "written legend which might be a verbal riddle or rebus to be solved by the same word,or a simple epigrammatic motto such as constituted the 'soul' of the emblem." First developed at the Jesuit college Pont a Mousson in 1588, it developed into an erudite courtly entertainment by the seventeenth century.Jennifer Montagu, “The Painted Enigma and French Seventeenth-Century Art,” Journal of the Warburg and Courtauld Institutes 31 (1968), 307-309, 314 The earliest verifiable painted enigmas from this era were painted by Charles Le Brun.

Though holding minority orthodox views amongst nonconformists, Campbell's approach grew with the influence he gained by means of magazines and newspapers - the Christian Witness, Christian's Penny, British Ensign, British Standard and the British Banner. Such were the sentiments he aroused that some slanderously maintained that the second n in the latter publication should give place to a g. Dr Parker drew this sketch of his approach, in his office at Bolt Court: Near the window sat the editor at his desk, and before him lay a scrap of paper, on which he jotted a few catch-words... A look at the scrap of paper and then a paragraph; the great voice sounding, and the grey plumage of the noble head nodding...paragraph after paragraph, now very epigrammatic, and anon bordering on the rhetorical; here very sensible, and there nearly bombastic; one sentence striking like a dart, and another stunning like the blow of a hammer. Always a controversialist, it was at Dr Campbell's persistence that the monopoly of printing the Bible, claimed by the Queen's printer, ceased.

Later he became a publisher and book-seller and went to Leipzig, where he published his first work, Miktamim ve-Shirim (Epigrams and Songs), which also contains an important essay on epigrammatic composition (Leipzig, 1842). Of the other works which he published there, his corrected edition of R. Bahya ibn Pakuda's Chovot ha-Levavot, with an introduction, a short commentary, and a biography of the author, together with notes and fragments of Joseph Kimhi's translation by H. Jellinek, is the most valuable (Leipzig, 1846; Königsberg, 1859, without the introduction). In 1848 Benjacob returned to Vilnius, and for the next five years he and the poet Abraham Dob Bär Lebensohn were engaged in the publication of the Bible with a German language translation (in Hebrew type) and the new Biurim (Vilnius, 1848–1853, 17 vols.), which did much good as a means of spreading the knowledge of German and a proper understanding of the Hebrew text among the Jews in Russia. When this work was done he brought out his corrected and amended edition of Chaim Joseph David Azulai's Shem ha-Gedolim (Vilnius, 1853; Vienna, 1862), which is still the standard edition of that important work.

The Quarterly Review largely agreed, calling Disraeli's production: > A book which he calls a novel, but which is after all a political pamphlet, > and a bid for the bigoted voices of Exeter Hall… It sins alike against good > taste and justice…That there are happy thoughts and epigrammatic sentences > sown broadcast in its pages need scarcely be said of a novel written by Mr. > Disraeli. But as the true pearl lies embedded in the loose fibre of a > mollusc, so Mr. Disraeli's gems of speech and thought are hidden in a vast > maze of verbiage which can seldom be called English, and very frequently is > downright nonsense…So far as feeling is concerned Lothair is as dull as > ditch-water and as flat as a flounder.R. W. Stewart (ed.) Disraeli's Novels > Reviewed, 1826–1968 (Metuchen, N.J.: Scarecrow Press, 1975) pp. 268–69. The Conservative Pall Mall Gazette made the best of Disraeli's stylistic carelessness by speculating that Lothair "Must have cost the author, we cannot help fancying, no effort whatever; it was as easy and delightful for him to write as for us to read."W. F. Monypenny and George Earle Buckle The Life of Benjamin Disraeli, Earl of Beaconsfield (London: Macmillan, 1912–22) vol. 5, p. 167.