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Page 191 starts the Greek-Albanian phraseologies. On page 217, there is a mini-dictionary with trees names, human body parts, and vegetable names. The alphabet shows in page 219. Appendixed to the grammatical notes is also a letter dated 30 October 1801, written in Albanian in Vellara's handwriting from the village of Vokopolë, south of Berat, where the physician had been obliged to follow Veli during the latter's military campaign against Ibrahim of Berat.
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Within exegetical literature, the use of sabab in a technical sense did not occur until relatively late: the material which would be later culled by asbāb writers used alternate phraseologies to introduce their reports, such as al-āya nazalat fī hādhā- "the verse was revealed about such and such"- or fa-anzala allāh- "so God revealed/sent down". The term "sabab" in its technical sense (meaning "occasion of revelation") seems to begin to make its appearance in the works of Tabari (d. 922 CE) and al-Nahhas (d. 950 CE).
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In both Australia and New Zealand, a smoko, originally meaning a cigarette break, is also used as slang for a tea break, especially for people working in manual work. In Australia and New Zealand the evening meal is still often called tea, whereas the midday meal is now commonly called lunch. In rural areas, dinner is still used quite often for the midday meal; tea is around 6 pm, and the term supper is either a late meal at night, or food served at night at a social function, such as the town's annual Christmas dance and supper. These phraseologies have fallen somewhat out of favour amongst young people.
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As a university student, Buñuel had studied entomology at the Museum of Natural History under the famous naturalist Ignacio Bolívar, and he had an early and lasting interest in the scientific documentaries of Jean Painlevé, which he tried to screen at the Residencia de Estudiantes. Numerous critics have commented on the number of sequences in his films involving insects, from the death's head moth in Un chien andalou and the extended scorpion scenes in L'Age d'or to the framed tarantula in Le Fantôme de la liberté. Others have commented on the dispassionate nature of Buñuel's treatment of his characters, likening it to the stance of the entomological researcher, and Buñuel himself once said that he had an "entomological" interest in the protagonist of his film El. The writer Henry Miller observed: "Buñuel, like an entomologist, has studied what we call love in order to expose beneath the ideology, mythology, platitudes and phraseologies the complete and bloody machinery of sex." The writer Octavio Paz also called Buñuel's work "the marriage of the film image to the poetic image, creating a new reality … scandalous and subversive".
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