Its lead singer, Domingo García-Huidobro, in a velvet topcoat, beaded choker and the high-water, emphatically flared jeans that are one of Mr. Akasaka's signatures, took the stage, doffed his coat, lit a cigarette and assumed a stance of rock-god lordliness.
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The municipal arms might be described as party per fess, above in azure the Hessian lion striped argent and gules armed Or, langued gules, wearing a crown Or, below in argent three six-pointed stars gules. The lion refers to the early Hessian lordliness, and the three stars stand for the three constituent communities within Angelburg.
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'Jalal or Galal (Arabic: '), a masculine name, means majesty, dignity, lordliness, and glory. Because of its majestic and glorious meanings, Jalal is used as an attribute of God in the Bible and the Quran, and as a characteristic of royals like kings, lords, monarchs, and emperors in histories, myths, legends, monarchies, and formal situations. When the Arabs spread their language across non-Arabic countries, "Jalal" among other Arabic words has been added to other language dictionaries of non-Arabic people. Many Arabic-speaking Christians and Arab or non-Arab Muslims have Jalal as given or family name.
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As early as 1108, Rodgau's smallest constituent community (with a population today of roughly 3,800) had a documentary mention as the location of a moated castle belonging to the Lords of Hagenhausen, in which it was named as Haginhusen. Remains of this castle still lie under a meadow near the Rodau on today's Burgstraße (road). The Hagenhausen noble family, who after moving to the Taunus began styling themselves the Lords of Eppstein, and writing many a page in mediaeval German history, found themselves holding great importance and power from the 13th century onwards. Four Archbishops of Mainz alone were installed by the Eppsteins. Hainhausen, though, did not benefit from the former lords’ descendants’ lordliness.
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Other poets, including William Cowper and his conversational poem, The Task (1785), also served as an influence in terms of how to compose diction within poetry.Ashton 1997 pp. 29–30 Coleridge explained his feelings about those that influenced him in a letter to John Thelwall written on 17 December 1796, "But do not let us introduce an act of Uniformity against Poets — I have room enough in my brain to admire, aye & almost equally, the head and fancy of Akenside, and the heart and fancy of Bowles, the solemn Lordliness of Milton, & the divine chit chat of Cowper."Letter to John Thelwall 17 December 1796 It was also in 1794 when Coleridge began to emphasize nature in his works and transitioned into a Romantic poet.
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The sonnet praises Bowles's abilities as a poet while comparing him to other poets. This occurred in many of Coleridge's works including a comparison of Bowles with William Cowper in a December 1796 letter to John Thelwall: "But do not let us introduce an act of Uniformity against Poets—I have room enough in my brain to admire, aye & almost equally, the head and fancy of Akenside, and the heart and fancy of Bowles, the solemn Lordliness of Milton, & the divine Chit chat of Cowper." This was followed in Biographia Literaria with a claim that the two poets that were, "the first who combine natural thoughts with natural diction; the first who reconciled the heart with the head". Most of the Sonnets on Eminent Characters is devoted to those Coleridge considered heroes.
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The Shaivites know aishvarya or Aishvarya-tattva as the Ishvara-tattva, the tattva of realizing what constitutes the Lordliness and the Glory of the Divine Being. It is the stage which succeeds Sada-Shiva Tattva as the stage of making a full survey of, identification with, what constitutes the state of the Experiencer, of the pure and undivided "this" aspect of his being as a whole, of the Ideal Universe hitherto lurking as an indistinct picture in the background of the Being. The Sadakhya or the Sada-Shiva Tattva state is Jnana, the power of being conscious or the experience of the "I", and Aishvarya or the Ishvara-tattva is true identification or the experience of being identified with and merged into the "this" of the vakya "I am This". It is the fourth step in the evolution of mental aspects of universal manifestation.
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