This reprehension, if necessary, was done only once per phase.
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But it may be questioned whether Swanston really merited this reprehension.
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I say then, that reprehension and reprimand can scarcely ever be necessary.
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You look at me as if you thought this reprehension were undeserved!
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He to whom my reprehension does not apply, will not receive it.
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To be at task, therefore, is to be liable to reprehension and correction.
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The missing fish caused great reprehension and an investigation by the state police.
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She now opened all those floodgates of reprehension, which had been shut so long.
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It behoveth therefore such a one to be free from all cause of reprehension.
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An act like this cannot be committed, and nobody will be deserving of reprehension.
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Their presumption is so notorious, that, either by disgust or alarm, it keeps off reprehension.
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The day had not yet arrived when the great were to endure the freedom of reprehension.
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My behaviour, during the very happy fortnight which I spent with you, did not, I hope, lay me open to reprehension, excepting on one point.
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Faced with the Parliament's dogged opposition and the public's reprehension for its initial proposal, the Commission has recourse to successive reports and evaluations of an imperfect legal instrument.
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37 leaving "most of the audience", according to Britten, "very interested if bewildered". The press reviews ranged "from flattering & slightly bewildered (D. Tel.) - to reprehension & disapproving (Times)".Britten (1991).
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The looks I get from other mothers when I say that I gave him the choice at age 11 whether to play sports or not... is one of reprehension.
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Milton, who counted on his readers reacting with reprehension at the pride of Satan, could not count on such a response if he had written Paradise Lost in modern times.
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The structure of the Sermon follows the Ciceronian tradition: an introduction presenting the theme (exordium) ending in an invocation to the Virgin Mary as the Domina maris; the main body of the sermon, allegorical in nature, wherein are Vieira's arguments and counterarguments (narratio and confirmatio); and the conclusion (peroratio). The theme of the Sermon comes from the Gospel of Matthew: "Vos estis sal terræ" (). After the theme exposition, Vieira's discourse has its development divided into two parts: praise for the fishes' virtues and reprehension for their vices.
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Her experimentation and relationships, however, turn out unsuccessful. Mirdja parallels many aspects of Onerva's life: Mirdja marries Runar and Onerva marries Väinö Streng, and both Mirdja and Onerva notice that married life does not meet their expectations. Furthermore, Mirdja features the character Rolf Tanne, who has been speculated to be based on Eino Leino. Mirdja was published in 1908 and, initially, caused a lot of reprehension for its content advocating erotic freedom and its contempt for traditional family values and attracted frown from, for instance, some women.
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The Travels of Pedro de Cieza de León, AD 1532-50, Contained in the First Part of His Chronicle of Peru, translated and edited by Clements R. Markham. London: Hakluyt Society, 1864, p. 358. The two historians appear to differ in their portrayal of Lloque Yupanqui’s disposition. Cieza de León describes some of the Incas as “vindictive” and, similar to his treatment of previous villages he conquered, he killed many “in such sort that few or none were left alive” even after their surrender. Garcilaso de la Vega, on the other hand, records that after a “grave reprehension” they were pardoned and it was ordered that they be treated well.
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They viewed comedy as simply the "art of reprehension", and made no reference to light and cheerful events, or to the troubling beginnings and happy endings associated with classical Greek comedy. After the Latin translations of the 12th century, the term "comedy" gained a more general meaning in medieval literature. In the late 20th century, many scholars preferred to use the term laughter to refer to the whole gamut of the comic, in order to avoid the use of ambiguous and problematically defined genres such as the grotesque, irony, and satire.Herman Braet, Guido Latré, Werner Verbeke (2003) Risus mediaevalis: laughter in medieval literature and art p.
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The Arabic poetic genre of hija (satirical poetry) was introduced after the Islamic conquest of Persia. The Greek dramatic genre of comedy was also later introduced after Aristotle's Poetics was translated into Arabic in the medieval Islamic world, where it was elaborated upon by Islamic philosophers from Persia, such as Al-Farabi and Avicenna. Due to cultural differences, they disassociated comedy from Greek dramatic representation and instead identified it with the Arabic poetic form of hija. They viewed comedy as simply the "art of reprehension", and made no reference to light and cheerful events, or troublesome beginnings and happy endings, associated with classical Greek comedy.
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The terms "comedy" and "satire" became synonymous after Aristotle's Poetics was translated into Arabic in the medieval Islamic world, where it was elaborated upon by Arabic writers and Islamic philosophers, such as Abu Bischr, his pupil al-Farabi, Avicenna, and Averroes. Due to cultural differences, they disassociated comedy from Greek dramatic representation and instead identified it with Arabic poetic themes and forms, such as hija (satirical poetry). They viewed comedy as simply the "art of reprehension", and made no reference to light and cheerful events, or troublous beginnings and happy endings, associated with classical Greek comedy. After the Latin translations of the 12th century, the term "comedy" thus gained a new semantic meaning in Medieval literature.Webber.
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Muhammad al-Baqir's Hadith about humour The terms comedy and satire became synonymous after Aristotle's Poetics was translated into Arabic in the medieval Islamic world, where it was elaborated upon by Arabic writers and Islamic philosophers such as Abu Bischr, his pupil Al- Farabi, Persian Avicenna, and Averroes. Due to cultural differences, they disassociated comedy from Greek dramatic representation, and instead identified it with Arabic poetic themes and forms, such as hija (satirical poetry). They viewed comedy as simply the "art of reprehension" and made no reference to light and cheerful events or troublesome beginnings and happy endings associated with classical Greek comedy. After the Latin translations of the 12th century, the term comedy thus gained a new semantic meaning in Medieval literature.
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The word Ahalya can be divided into two parts: a (a prefix indicating negation) and halya, which Sanskrit dictionaries define as being related to the plough, ploughing, or deformity. In the Uttar Kanda book of the Ramayana, the god Brahma explains the meaning of the Sanskrit word Ahalya as "one without the reprehension of ugliness", or "one with an impeccable beauty" while telling Indra how he created Ahalya by taking the special beauty of all creation and expressing it in every part of her body. Because some Sanskrit dictionaries translate Ahalya as "unploughed," some recent authors view this as an implicit reference to sexual intercourse and argue that the name refers to a virgin or a motherly figure. This fits the context of the character Ahalya, who is viewed as being in one way or another beyond Indra's reach.
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The style of Phylarchus is strongly censured by Polybius, who blames him for writing history for the purpose of effect, and for seeking to harrow up the feelings of his readers by the narrative of deeds of violence and horror. This charge is to some extent supported by the fragments of his work; but whether he deserves all the reprehension which Polybius has bestowed upon him may well be questioned, since the unpoetical character of this great historian's mind would not enable him to feel much sympathy with a writer like Phylarchus, who seems to have possessed no small share of imagination and fancy. It would appear that the style of Phylarchus was too ambitious; it was oratorical, and perhaps declamatory; but at the same time it was lively and attractive, and brought the events of the history vividly before the reader's mind. He was, however, very negligent in the arrangement of his words, as Dionysius has remarked.
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