Jack's shoulders are slumped forward, his arms crossed, while John's maternal aunt Annie reproves him with an extended finger.
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Panfilio, her son, reproves her thereanent, whereupon she promises to mend her ways if he will lay aside certain uncouth habits.
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Each Blood member awakens their "Blood Power" through personal trials. After a mission, Gil reproves Romeo for his lackadaisical approach to combat. Romeo loses his temper, revealing he feels inadequate since his Blood Power has yet to awaken, and runs away. An old couple shelter him during a red rain storm.
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Gildas discusses Aurelius Conanus in Chapter 30 of his work De Excidio et Conquestu Britanniae, in a section in which he reproves five kings for their various sins.De Excidio et Conquestu Britanniae, ch. 30.Giles, pp. 26–27. All the kings are compared to Biblical beasts; Aurelius is called the "lion's whelp".
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Lytton has died, and Carrington has committed suicide as a result. Juliana's child, Elena (named after Brenan's mother Helen) is now three. She reproves Brenan for not returning to Yegen earlier, but in the end allows him to take their child to be educated and looked after. The film then fast forwards twenty years.
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They embrace passionately but briefly before Esteban comes back with Raoul, to take his leave. When Adrienne has gone to bed, Raoul reproves Jacques for leaving the table during the Duke's speech. Jacques answers his employer recklessly, accusing him of being "Afraid – of youth – afraid of life – afraid of suffering – afraid of happiness".Coward, p.
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Their encounter in the garden is observed by Bonario, his children, and the servants. Bonario prepares a speech which he plans to deliver to Ciprigna in an attempt to reassert his authority but accidentally drops it. When she finds it, the outraged Ciprigna unbraids her husband in a lengthy tirade. Fiuta reproves his master for cowardice.
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Atreus consults with his guard as to the best way of carrying out vengeance on his brother. The guard, however, will not listen, and advises him only to do what is right. But Atreus decides on an impious and horrible plan for executing his revenge. The Chorus reproves the ambition of rulers, and points out what a true king should be, and lastly sings in praise of a retired life.
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He became professor at the Reale Accademia di Belle Arti and entrusted with the decorations of the Royal Palace of Caserta: his most important fresco is Minerva awarding prizes to Arts and Sciences (1814) on the Ceiling of the Council Hall. Among his fellow teachers was Tito Angelini. Again in the Reggia of Carditello, he painted Hector reproves Paris (1814). In the bedrooms, he painted the Victory of Theusus over the Minotaur (1824).
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Katherine is shown, ill; she has a vision of dancing spirits. Caputius visits her; Katherine expresses her continuing loyalty to the King despite their divorce, and wishes the new Queen well. The King summons a nervous Cranmer to his presence, and expresses his support; later, when Cranmer is shown disrespect by the King's Council, Henry reproves them and displays his favour of the churchman. Anne Bullen gives birth to a daughter, the future Queen Elizabeth.
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Heartbroken, Martha returns to the orchard to weep. To complicate things, Father departs the homestead and his route takes him by the waterfall where he discovers his daughter in close personal contact with the gypsy. In a fit of rage, the old man tears the gypsy from his daughter and reproves him wildly. Father raises his cane to strike the gypsy, but the gypsy impulsively fells him with a two quick blows to the torso.
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105–115 Beyond theological critique, Calvin also reproves Seneca's style as too luxuriant, and remarks, "I also miss the orderly arrangement of matter, which is certainly not the least quality of a good style."John Calvin, Commentary on De Clementia, preface iii. We can already begin to see the anticipation of Calvin's full development in his writing method and can expect the transformation of Calvin's classical learning and the seriousness of the Stoic ethic into Christian faith.
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On trial for treason, Ferdinand courageously maintains his claim to the throne. Olivia is impressed with him, falls in love with him, and commands a recess in the trial as she leaves the courtroom. Leonario and the nobles are prepared to sentence the apparent usurper, but the Queen prevents and reproves them. She states that investigation may yet validate Ferdinand's claim, and has him escort her from the court, to the general consternation of her supporters.
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One of these, The Present Uncertainty in the Knowledge of Medicines, 1703, was a letter to the physicians in the commission for sick and wounded seamen, in which he reproves their narrowness of view. Another on The Danger of Improving Physick (1730) was against physician opponents, particularly to Freind who had turned against him in his History of Physick (1725) after being on good terms for twenty years. Cockburn translated the De morbis acutis infantum of Walter Harris into English, published in 1693.
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The last scene of Wagner's The Flying Dutchman (1843) Later in the evening, the local girls bring Daland's men food and drink. They invite the crew of the strange vessel to join in the merry-making, but in vain. The girls retire in wonder; ghostly forms appear at work upon the vessel The Flying Dutchman, and Daland's men retreat in fear. Senta arrives, followed by Erik, who reproves her for deserting him, as she had formerly loved him and vowed constancy.
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It is believed that, Mother Lakshmi become angry with her husband god Krishna, because He stayed at Ghunucha's place for all these days. The followers of Mother Lakshmi therefore stop the opposite group from entering her house. But at last, the bamboos are broken and Lord Krishna entered the campus and takes seven round of kirtan ghar. ‘He tires and takes rest for a while. Taking advantage of the peace, a devotee from Lakshmi’s side ‘reproves’ him; one of his devotees returns the reproof.
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Acharyaji reproves his daughter about how she shouldn't accuse someone of such a serious crime without any proof. Sonu tells him she will find proof if she can get close enough to Chand. Acharyaji makes a donation for the music festival to Chand, and even better, sets him up with Kasturia (Deven Verma), one of the business moguls in the area. Kasturia feels that the festival will benefit not only Majorda but all the businesses in the area and gives him a blank cheque.
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Interrupting his father as he speaks to Arkady, he proves rather abrupt and still the powerful center of attention despite being around his parents. Arkady, who has delighted Bazarov's father by assuring him that his son has a brilliant future in store, in turn, reproves his friend for his brusqueness. Later, Bazarov almost comes to blows with Arkady after the latter makes a joke about fighting over Bazarov's cynicism. This once again shows the distance and changes within Arkady and Bazarov's relationship, as Arkady becomes more defiant against Bazarov's ideals.
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Both are wealthy landowners from the north of England, who have developed an absurd plan; outfitting themselves in flashy clothes, they have come to London to live by their wits. They intend to pursue liaisons with women, and moreover to depend on those prospective lovers for income, like gigolos. They even have a division of labour: the Elder Pallatine will pursue the younger women, while the grey-haired Sir Morglay will concentrate on the widows. The Younger Pallatine reproves them over their intentions, but the two are deaf to him.
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The speaker begins the sonnet by saying that if the subject's soul reproves her, then because it is not a conscious thought, she can still swear to her soul that the speaker is her William. This is significant because modern historians have tentatively identified the dark lady of the sonnets as Emilia Lanier,(Rowse, A. L. William Shakespeare : A Biography / A.L. Rowse. n.p.: New York : Pocket Books, 1965, c1963.) who was married to Shakespeare's friend Will Lanier. Because her soul knows this will (wish), this is taken as meaning that love is admissible.
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Contarini, a married man, actually tries to convince his wife to kill herself to leave him single again; when she naturally declines, he attempts to bribe Giotto into committing adultery with her so that a divorce can result. The misogynistic Orseolo portrays himself as a great lover; the elderly Comachio joins his compatriots in making a fool of himself. In the end, the Duchess gently mocks and reproves her eccentric courtiers, and announces that she will marry Giotto—who turns out to be the Duke of Parma in disguise.
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Anselmo reminds her that nobility is little use without money. Doralice, the daughter-in-law, laments that even with such a large dowry, she is not given the money to buy a bridal gown, but Anselmo continues to think about his coin and doesn't care. The son, Giacinto, speaks up, but his father does not listen. Doralice reproves Giacinto for not being able to make his father care, and complains about Isabella's mistreatment of her, threatening to return to her father's house if she is not treated a little better.
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He tells the monarchs to limit their extravagance, and instead to live in moderation, so that the burden on their citizens will be lessened, and he tells them to deal justly with everyone, especially the poor. Having counseled the rulers, Baháʼu'lláh warns that if they do not follow his counsels God will chastise them from all directions. While the tablet is addressed to all the rulers of the world, he writes to some specific groups as well. To the Christians he writes that he is the return of Jesus: Baháʼu'lláh also addresses Sultan Abdülaziz, the only monarch addressed individually, and reproves him for entrusting the affairs of his empire to ministers whom he claims are not trustworthy.
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Among his best known poems are two descriptive-narrative silvas: "En el teocalli de Cholula" (written between 1820 and 1832), which admires the great Aztec ruins of Cholula in Mesoamerica and reproves pre-Hispanic religion, and "Al Niágara" (1824), which covers the imposing and wild waterfalls of Niagara and develops a new voice: the romantic "I" attributed to nature. Other notable romantic authors were Gabriel de la Concepción Valdés ("Plácido") and Juan Francisco Manzano. Among the adherents to American regionalism was José Jacinto Milanés, while Gertrudis Gómez de Avellaneda, a distinguished figure of Hispanic American Romanticism, triumphed on foreign soil and was criticized by the orthodoxy of Cintio Vitier in the 20th century.
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The resemblance to A Midsummer Night's Dream is accentuated by the appearance of a troupe of fairies; they set out a banquet, and mistakenly give a precious bejewelled cup to a passing peasant. The Enchanter who controls the fairies appears, and reproves them for misplacing the cup; then he sees Lassingbergh and Lucilia, and has his fairies bind and abduct them. Confused by his spells, Lucilia forgets both herself and her husband; the Enchanter tries to convince her that he is her husband -- but Lucilia's true love is too strong to be deceived by the trick. The play depicts a series of comings and goings, meetings and partings and misunderstandings among Alberdure, his pursuers, Lassingbergh and Lucilia, and the peasant.
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She is featured chowing down on Chicken of the Sea tuna—an allusion to the first episode, where she asks if the famous tuna brand is really chicken—and buffalo wings, a reference to another gaffe of hers, when she asks if buffalo wings come from buffalo. At one point she is sporting a T-shirt reading "plata-ma- pus," the way Jessica thought "platypus" was pronounced. She is shown around the house making haphazard attempts at housekeeping, another reference to the first episode, when then-husband Nick Lachey reproves her for not trying to do more around the house herself. In the video, she floods a sink with soapsuds and awkwardly tries to Swiffer the kitchen floor; a later scene shows her trying to sort dirty laundry.
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The Reformer John Calvin reflected that "by using the word 'upright' for Israel, [the author] ironically taunts them with having departed from rectitude, and, reminding them of the high dignity conferred upon them, more severely reproves their sin of unfaithfulness".Calvin's Commentary on Deuteronomy 32, accessed 16 January 2016 Nineteenth century theologian Charles H. Waller argued that "Jeshurun is a diminutive—a term of endearment: either 'the child of the upright', or 'the beloved Israel'". He suggested that "the letters of the diminutive of Israel, if slightly abbreviated, would make 'Jeshurun'".Waller, C. H., in Ellicott's Commentary for English Readers on Deuteronomy 32, accessed 16 January 2016 However, Joseph Benson noted that "some consider the word as being derived from שׁור, shur, to see, and think the appellation was given them because they were so highly favoured with divine manifestations".
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Roger Blin, in an interview on 2 March 1975, in Paris, said: "Beckett absolutely didn't want me to try to do Embers for the theatre because, when you listen, you don't know if Ada exists or not, [or] whether she only exists in the imagination of the character Henry."Oppenheim, L., Directing Beckett (Ann Arbor, University of Michigan Press), p 310 Ada is "immensely there", though, her personality is allowed to shine throughout her conversation with Henry; she doesn’t merely respond, she initiates lines of thought, she nags him like a mother with her list of don’ts, jokes with him, reproves him in a matter-of-fact way and refuses to mollycoddle him. She doesn’t appear to take him very seriously either. Henry is obviously incapable of imagining her any other way than how she was when they were together, further evidence of his declining creative powers.
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There are four songs, with a short instrumental interlude. The poems they are based on (with the first line in parentheses) are: #"He Reproves the Curlew" ("O Curlew, cry no more in the air") #"The lover mourns for the loss of love" ("Pale brows, still hands and dim hair") #"The Withering of the Boughs" ("I cried when the moon was murmuring to the birds:") #Interlude #"He Hears the Cry of the Sedge" ("I wander by the edge of this desolate lake") "The Withering of the Boughs" was taken from In the Seven Woods, while the other poems were taken from The Wind Among the Reeds. There is a lengthy instrumental introduction to the first song, in which the cry of the curlew is represented by the cor anglais and the peewit by the flute. The songs, which concern lost love, are melancholy in mood.
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Gould includes an analysis of E. O. Wilson's book Consilience: The Unity of Knowledge within the larger scope of his recommendations for a confederation of the physical sciences and humanities. He also provides an exegesis of texts participating in the development of the word consilience within a larger historical context of the concept's inception by Reverend William Whewell, who also coined the term scientist, and whom Gould proclaims as "the first modernist with joint command of both history and philosophy in the analysis of science" (Whewell being best known for his 1837 History of the Inductive Sciences and for his 1840 The Philosophy of the Inductive Sciences, Founded Upon Their History.). Gould also reminds the reader that he revived Whewell's concept of consilience in print, prior to Wilson. Gould reproves Wilson's program of reductionism by utilizing two main arguments based upon the emergence and contingency or randomness found in some complex, nonlinear or non-additive systems.
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In his writings, Amerio identifies three syllabuses which he says were implicitly and intellectually negated during the post-conciliar period : the encyclical Quanta cura, condemning liberalism and masonic ideology, the decree Lamentabili sane exitu concerning radical biblical criticism, and the encyclical Humani generis of 1950, which reproves of new ecclesial anthropologies and ecclesiologies. Amerio was also opposed to liturgical creativity, and his thought on this issue was essentially in line with the encyclical Mediator Dei of Pius XII, which precisely held that liturgy was a cultus, and not so much a self-celebration. Amerio also examined institutional changes in the Holy Office and felt that the formal abandonment of the term heresy in official enquiries and procedures had dramatic consequences on Church life, studies and Christian academics. Amerio was a promoter of apologetics and was dismayed by the abandonment of notions of conversion and disputation in favour of a purely dialectic approach between Church and World.
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