But beyond the familiar, sententious sport of Washington hypocrisy-spotting, it's pointless to deny that McDaniel is right: Weinstein's "dirty money" should be repudiated.
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These are the sententious keynote presentations, used to dazzle investors or recruit employees, that try to get a startup to seem like a holy mission.
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I think Silicon Valley is somewhat predisposed to kind of sententious moralizing and ... Then when the rubber hits the road they don't do anything about it.
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Accordingly, this anthology reads less like a worshipful or sententious exploration of the art of writing, and more like a highbrow scandal sheet — which, in the best way, Vanity Fair is.
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In Öğrenci's film, a sententious shot of an oud floating in water stands in for the importance of the instrument for a group of Iraqi refugees the artist met while on residency in Vienna.
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In his new book, The Decadent Society: How We Became Victims of Our Own Success, Douthat takes an approach by turns sententious and statistical to argue that Western society has run out of gas.
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Aden Sawyer, the teen-age protagonist, has a boyfriend, Decker Yousafzai, and an unhappy family: her mother, an alcoholic, and her father, a remote and sententious professor, whom Aden scornfully addresses as "Teacher," are separated.
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While there will be sententious statements about open minds and justices being umpires, the nominee will likely be anti-abortion, pro-law and order, pro-gun rights, anti-Affordable Care Act, anti-gay marriage, and generally conservative.
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I admire the lack of posturing and a passion to invest words with new potential for advocacy, on and off the page, a seriousness and clarity of purpose without any sententious sign of any one political party line.
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He has welcomed moralizing mountebanks like Al Sharpton — who along with his for-profit business was found in 2014 to owe more than $4.5 million in taxes — sententious celebrities and movie stars, and rappers with a history of violence.
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Often, though, their gestures come off as sententious and insincere (but I'm sure Mia Farrow really does love her black children), transparently performative actions to ensure that they're included in whatever the topic du jour is, adding gravitas to their image.
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Neither purgative, like therapy, nor sententious, like propaganda, they simply sit on the white walls or the cold floor of Kurt's studio and bear witness with a frightening honesty, so much so that, when Seeband first sees them, you hold your breath.
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They both remind us that totalizing maxims have often been fatuously and unequivocally sententious in their urge toward controlling domination, embellished (as they seem to always be) with a sort of self-importance and fallacious, sweeping universalism that entangles the difficult idea of the multiple into the simple and unitary.
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Opinion Columnist Usually when some sententious centrist talks about ending partisan polarization and just coming up with "solutions" based on "data" or "studies" or "expert consensus," the appropriate response is to roll your eyes — the way people have been eye-rolling lately at Howard Schultz of Starbucks and his apparently substance-free vision for an independent presidential campaign.
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Shameless in repeating the same adjective from one line to the next, incontinent in the accumulation of these same adjectives, capable of opening a sententious digression without managing to close it because the syntax cannot hold up, and panting along in this way for twenty lines, it is mechanical and clumsy in its portrayal of feelings: the characters either quiver, or turn pale, or they wipe away large drops of sweat that run down their brow, they gabble with a voice that no longer has anything human about it, they rise convulsively from a chair and fall back into it, while the author always takes care, obsessively, to repeat that the chair onto which they collapsed again was the same one on which they were sitting a second before.
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A. O. Scott of The New York Times called it "a talky, sententious affair".
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The arches are of pale Ohio sandstone, as is the thick cornice band incised with a lengthy and sententious motto.
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The novel received mixed reviews upon its release with The New York Times criticizing Ford's writing calling it "sententious baby talk".
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The use of sententiae has been explained by AristotleRhetoric 2.21 [1394a19ff] (when he discusses the γνώμη gnomê, or sententious maxim, as a form of enthymeme), Quintilian,Institutes of Oratory, 8.5 and other classical authorities. Early modern English writers, heavily influenced by various humanist educational practices, such as harvesting commonplaces, were especially attracted to sententiae. The technique of sententious speech is exemplified by Polonius' famous speech to Laertes in Hamlet.Act 1, scene 3 Sometimes in Elizabethan and Jacobean drama the sententious lines appear at the end of scenes in rhymed couplets (for instance, John Webster's Duchess of Malfi).
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I'm sure that I've gotten away with my share of sententious flapdoodle because my granddaughters are just too kind to call me on it.
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Richard Baxter calls him a 'sententious, elegant preacher.' He welcomed the Restoration, but was ejected by the Uniformity Act of 1662. Jenkyn preached two farewell sermons at Christ Church on 17 August 1662.
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His oratorical style was rather pedantic, but quotations from the classics had a fresher meaning in his day. He was the friend of Ronsard, de Thou and l'Hôpital, and left, among other literary remains, elegant and sententious quatraines.
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Besides, he is also portrayed as an honest and sententious man who is often easily cheated and taken advantage of, resulting in his maladroit handling of the territorial dispute over Jing Province between Liu Bei and Sun Quan.
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The poetry of Calormen is prolix, sententious, and moralizing. Quotations from Calormen poets are often quoted as proverbs. These include such as the following:Unseth, Peter. 2011. A culture “full of choice apophthegms and useful maxims”: invented proverbs in C.S. Lewis’ The Horse and His Boy.
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Andy Gill for The Independent described her cover as "sententious". Neil McCormick for The Telegraph was critical of her decision to cover the song, writing that she is too emotive for the "direct and simple" lyrics, and concluded by saying that her version does not compare to Gallagher's "raw-throated sincerity".
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He also declared, "Nobody will ever write a better tragedy than Lear". However, he also wrote in a letter to Mrs Patrick Campbell, "Oh, what a damned fool Shakespeare was!", and complained of his "monstrous rhetorical fustian, his unbearable platitudes, his sententious combination of ready reflections with complete intellectual sterility".
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They often have a sententious tone and convey a feeling of intimate pain. Sometimes despair, more typical of seguiriya, can also appear. However, it is difficult to generalize: sometimes a less serious stanza can turn up in the middle of other serious ones, and irony is frequent. The stanza of the soleá has three or four lines.
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In Gracián's eyes Malvezzi's peculiar genius was to have combined the critical style of a historian with the 'sententious' style of the philosopher (Agudeza, Discurso 62, 380–1). His political thought was in the tradition of Machiavelli.Mary Augusta Scott, Elizabethan Translations from the Italian (1969), p. 420. His Tarquin argues the case for dissimulation in politics.
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"Pressure" is, throughout, both a reality and a multifaceted metaphor." Brennan went on to praise the quality of the acting in the production saying "The acting, like the writing, is sharp, witty and affecting – never sententious. The three key characters in the 10-strong ensemble are outstanding." Joyce Mcmillan in The Scotsman wrote that Pressure is "well-shaped, tightly-constructed, and skilfully presented.
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Nestor Kukolnik - portrait by Karl Briullov. Nestor Vasilievich Kukolnik () (1809–1868) was a Russian playwright and prose writer of Carpatho-Rusyn origin. Immensely popular during the early part of his career, his works were subsequently dismissed as sententious and sentimental. Today, he is best remembered for having contributed to the libretto of the first Russian opera, A Life for the Tsar by Mikhail Glinka.
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79 Although this activity bored him, he would not have renounced it for anything, because he had read it was a habit of lords in London. Later, he became an ardent velocipedist, and was the only person with special permission to ride a velocipede in Cișmigiu. As seen by Radu R. Rosetti, Kalinderu appears "sententious, ridiculous, but very much appreciated by the King".Rosetti, p.
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The gnomic poets of Greece, who flourished in the 6th century BCE, were those who arranged series of sententious maxims in verse. These were collected in the 4th century, by Lobon of Argos, an orator, but his collection has disappeared. Hesiod's Works and Days is considered to be one of the earliest works of this genre. The chief gnomic poets were Theognis, Solon, Phocylides, Simonides of Amorgos, Demodocus, Xenophanes and Euenus.
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He is, Hazlitt grants, somewhat like Thomas Paine in his popular appeal and sympathy with the cause of the common man; but even then there are significant differences. Paine is a "sententious" and "poetical" writer; many of his lines are memorable and quotable. Cobbett's writing contains almost nothing suitable for quotation. Prosaic and down to earth, it produces its effects by the incessant accumulation of closely observed details.
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Although the play was only acted once, it, like Tom Thumb, sold when printed. Its attacks on poetic license and the antirealism of domestic tragedians and morally sententious authors was an attack on the values central to the Whig version of personal worth. Two years later, Fielding was joined by Henry Carey in anti-Walpolean satire. His Chrononhotonthologos takes its cue from Tom Thumb by outwardly satirizing the emptiness of bombast.
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The song received mostly positive reviews from music critics. Entertainment Weekly's Chris Williams described Dear Mr. President "with its incongruous folkie social concern and Bush-baiting applause lines." The Los Angeles Times Natalie Nichols said that Pink taps her inner Ani DiFranco on the confrontational "Dear Mr. President." The New York Times Jon Pareles noted that the song is "well meaning", "hectoring" and that it "grow[s] even more sententious".
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Cary's drama belongs to the subgenre of the Senecan revenge tragedy, which is made apparent by the presence of the classical style chorus that comments on the plot of the play, the lack of violence onstage, and "long, sententious speeches". The primary sources for the play are The Wars of the Jews and The Antiquities of the Jews by Josephus, which Cary used in Thomas Lodge's 1602 translation.
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Bastiano da Sangallo Bastiano da Sangallo (1481May 31, 1551) was an Italian sculptor and painter of the Renaissance period, active mainly in Tuscany. He was a nephew of Giuliano da Sangallo and Antonio da Sangallo the Elder. He is usually known as Aristotile, a nickname he received from his air of sententious gravity. He was at first a pupil of Perugino, but afterwards became a follower of Michelangelo. s.v.
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Robert E. Lee of the Second Cavalry from 1856 to 1857. In a letter dated Camp Cooper, 12 April 1856, he wrote: > We are in the Comanche Reserve with the Indian camps below us on the river, > belonging to Catumseh's band, whom the Government is trying to humanize. It > will be up hill work I fear. Catumseh has been to see me and we have had a > talk, very tedious on his part and very sententious on mine.
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175 online. Quintilian characterizes Catius briefly: Early commentators on Horace assert that the philosopher should be identified with the Catius addressed in the fourth satire of the poet's second book. This Catius is introduced as delivering a grave and sententious lecture on various topics connected with the pleasures of the table. It appears from the words of Cicero, however, that the satire in question could not have been written until several years after the death of Catius.
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In Act 1, Scene 3, Polonius gives advice to his son Laertes, who is leaving for France, in the form of a list of sententious maxims. He finishes by giving his son his blessing, and is apparently at ease with his son's departure. However, in Act 2, Scene 1, he orders his servant Reynaldo to travel to Paris and spy on Laertes and report if he is indulging in any local vice. Laertes is not the only character Polonius spies upon.
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The text of Tristan is 19,548 lines long, and is written, like all courtly romances, in rhyming couplets. The first section (ll. 1-44) of the prologue is written in quatrains and is referred to as the "strophic prologue", while pairs of quatrains, of sententious content, mark the main divisions of the story. The initial letters of the quatrains, indicated by large initials in some manuscripts, form an acrostic with the names Gotefrid- Tristan-Isolde, which runs throughout the poem.
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Musophilus is a long poem by Samuel Daniel, first published in 1599. Among Daniel's most characteristic works, it is a dialogue between a courtier and a man of letters, and is a general defence of learning, and in particular of poetic learning as an instrument in the education of the perfect courtier or man of action. It is addressed to Fulke Greville, and written, with much sententious melody, in a sort of terza rima, or, more properly, ottava rima with the couplet omitted.
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The clubland of Capetown looks to him as its humorous and sententious oracle: he is a good hand at cards and the best of good company. . . He often looks and often professes to be with one foot in the grave, and his most brilliant efforts are said to be made after a few weeks’ light diet of champagne (doctor’s orders). His robustest friends, however, expect him to survive to crack jokes on their epitaphs.” However his lifelong health problems worsened and on 10 December 1898, Upington died in Wynberg, Cape Town, aged only 54.
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A stained glass representation of Polonius Gollancz proposed that the source for the character's name and sententious platitudes was De optimo senatore, a book on statesmanship by the Polish courtier Wawrzyniec Grzymała Goślicki, which was widely read after it was translated into English and published in 1598 under the title The Counsellor. "Polonius" is Latin for "Polish" or "a/the Polish man." The English translation of the book refers to its author as a statesman of the "polonian empyre". In the first quarto of Hamlet, Polonius is named "Corambis".
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The Rehearsal was a satirical play aimed specifically at John Dryden and generally at the sententious and overly ambitious theatre of the Restoration tragedy. The play was first staged on December 7, 1671 at the Theatre Royal, and published anonymously in 1672, but it is certainly by George Villiers, 2nd Duke of Buckingham and others. Several people have been suggested as collaborators, including Samuel Butler of Hudibras fame, Martin Clifford, and Thomas Sprat, a Royal Society founder and later Bishop of Rochester. The play concerns a playwright named Bayes attempting to stage a play.
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Together with Robert Garnier and Alexandre Hardy, Montchrestien is one of the founders of 17th century French drama. Montchrestien's tragedies are "regular"; they are in five acts, in verse and use a chorus; battles and shocking events occur off stage and are reported by messengers. His style shows an attention to detail (he reworked his verses extensively), and avoids both pedantry and convoluted syntax (unlike Alexandre Hardy). He was fond of laments, the use of stichomythia and gnomic or sententious lines (often indicated in his published plays by the use of marginal quotation marks).
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Kearny, > assembling the citizens of the place, as usual, on the terraced roof of some > spacious building, delivered to them a stern, sententious speech, absolving > them from any further allegiance to the Mexican government. When the general > was about to compel them to swear fealty to our government on the sacred > cross, the Alcalde and Priest objected. The general inquired the grounds of > their objection. They replied, that the oath he required them to take would > virtually render them traitors to their country, a sin of which they > disdained to be guilty. Gen.
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On April 19, 2018, the editors of GQ published an article titled "21 Books You Don't Have to Read" in which the editors compiled a list of works they think are overrated and should be passed over, including Catcher in the Rye, The Alchemist, Blood Meridian, A Farewell to Arms, The Old Man and the Sea, The Lord of the Rings, and Catch-22. GQ's review included a criticism of the Bible, calling it "repetitive, self- contradictory, sententious, foolish, and even at times ill-intentioned". The article generated a backlash among Internet commentators.
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Shakespeare contrasts the allusions to famine in the second quatrain with an allusion of gluttony by saying that the young man is "eat[ing] the world's due" if he were to die without offspring. The rhythmic structure of the couplet (particularly "by the grave and thee") suggests Shakespeare's "consummate ability to mimic colloquial speech so that the sonnet sounds personal and conversational, rather than sententious", and that upon first reading, one may be granted the ability to absorb more of the author's message as opposed to a close contextual reading.
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On the contrary, they are frequently depicted in a very unflattering light, although there are others who are shown as more sympathetic and admirable characters. Mr Elton, in Emma, demonstrates an excessive social ambition in proposing to the eponymous Emma Woodhouse, and once he is married later in the novel, he and his wife Augusta patronise the villagers and disgust Emma with their pretentiousness. In Pride and Prejudice, Mr Collins is an example of what a clergyman ought not to be. He is obsequious towards the powerful, arrogant towards the weak, sententious and narrow- minded.
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29 Aug. 2011. SHAKSPER: The Global Electronic Shakespeare Conference. P. 11, n. 20. Also the idea that Forman, a worldly-wise and canny operator, would spend his time drawing sententious morals from the stage plays he saw struck some modern critics as psychologically false, and in the 20th century suspicion emerged that the Book of Plays was one of John Payne Collier's forgeries, although Collier, who announced his discovery of the document in 1836, claimed to have used a transcription made for him by an unnamed "gentleman" (identified in 1841 by James Halliwell as W[illiam] H. Black, who catalogued the Ashmolean Collection).
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The official responsible for arrangements outside the conclave notified the cardinals that the color of the smoke had been misread and provided them with "smoke torches from a fireworks factory". The third day's four ballots again failed to select a pope and there was no confusion about the color of the smoke. Requests from a doctor inside the conclave for medical records suggested several cardinals were ill. It took a few ballots for supporters of Lercaro, "who was known to favor a simplified liturgy in local languages", and of "the aggressively sententious" Siri to recognize they could not garner the necessary 35 votes.
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Portuguese pastoral poetry is more natural and sincere than that of the other nations because Ribeiro, the founder of the bucolic school, sought inspiration in the national serranilhas, but his eclogues, despite their feeling and rhythmic harmony, are surpassed by the "Crisfal" of Cristóvão Falcão. These and the eclogues and sententious "Cartas" of Sá de Miranda are written in versos de arte mayor, and the popular medida velha (as the national metre was afterwards called to distinguish it from the Italian hendecasyllable), continued to be used by Camões in his so-called minor works, by Bandarra for his prophecies, and by Gil Vicente.
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Nor is it used by the Khalifa Muawiyah in his last khutba. In spite of the ban, however, it appears there were orators who spoke in rhymed prose. With the spread of Islam the reason for the prohibition disappears and rhymed prose reasserts itself in some of the speeches made by Muslim orators in the presence of the first Khalifas and no objection appears to have been raised. In early Islamic times it seems to belong to repartee, sententious sayings, the epigram, solemn utterances such as paternal advice, religious formulae, prayers, elogia addressed to princes and governors.
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Their contrasting fortunes may be the result of the two men's characters: Old Forrest is a mild-mannered and moral gentleman, while Old Harding is grasping and ruthless. In the opening scene, Old Forrest tries dissuade his headstrong elder son Frank from carousing with his fair- weather friends, a "quarrelsome gentleman" named Rainsford and his hangers-on Foster and Goodwin. Frank Forrest ignores his father's sententious advice; but during the evening Rainsford insults Old Forrest to his son's face, calling him a "fool" and "dotard." The two draw their swords and fight, and Frank Forrest is killed.
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Peter Brunette of The Hollywood Reporter gave the film an unfavorable review, saying, "Every time the film goes philosophical on us, the resulting dialogue is sententious and banal." Todd McCarthy of Variety said, "Although she can’t save the film from its own silliness, Mezzogiorno does provide a gravity and legitimacy of her own, as her mesmerizing eyes and her excellent delivery in English make a dramatic highlight out of a monologue about a personal tragedy, as well as showing up Campino for the non-actor he is." At the 2009 Sofia International Film Festival, the film won the Bourgas Municipality prize.
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This last characteristic was not invariable for he could be sententious and overbearing, so that his long-term friend Southey complained that "he was never content to be your friend, but he must be your saviour", nor was his temper to be implicitly relied on. He owes his place in literary history to his profound respect for the intellectual elite of his time, which, combined with his many fine personal qualities, enabled him to be an invaluable friend to Coleridge and others, and to live up to his own maxim, "Happy is the genius who has a friend ever near of good sense".
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As with The Relapse at the outset of Vanbrugh's dramatic career, Colley Cibber again became involved, and this time he had last word. Cibber, now a successful actor-manager, completed Vanbrugh's manuscript under the title of The Provoked Husband (1728) and gave it a happy and sententious ending in which the provocative wife repents and is reconciled: a eulogy of marriage which was the opposite of Vanbrugh's declared intention to end his last and belated "Restoration comedy" with marital break-up. Cibber considered this projected outcome to be "too severe for Comedy". The role of Sir John Brute in The Provoked Wife became one of David Garrick's most famous roles.
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These gnomes or maxims were extended and put into literary shape by the poets. Fragments of Solon, Euenus and Mimnermus have been preserved, in a very confused state, from having been written, for purposes of comparison, on the margins of the manuscripts of Theognis, whence they have often slipped into the text of that poet. Theognis enshrines his moral precepts in his elegies, and this was probably the custom of the rest; it is improbable that there ever existed a species of poetry made up entirely of successive gnomes. But the title gnomic came to be given to all poetry which dealt in a sententious way with questions of ethics.
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He said so many wise things to us and uttered them in so > pithy and sententious a style that one could never forget them. I presume > that my experience is like that of others, when I say that hardly a week of > my life has passed in which I have not recalled some of his apt sayings and > to my great advantage. Is there any better proof than that of the power of a > teacher over his pupils? He resigned the presidency of Brown in 1855, and served from 1857 to 1858 as pastor of the historic First Baptist Church in America, in Providence.
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In 1974, at the funeral of his cousin Dominic Elwes who had committed suicide, after a sententious speech by John Aspinall, Rennell infamously "went up and gave Aspinall the most useful punch in the face you have ever seen."[p225, The Hustlers by Douglas Thomas] He succeeded his uncle as 3rd Baron Rennell in 1978, and took the Conservative whip in the House of Lords. Rodd actively participated in many sports including; rugby for several Parliamentary teams, cricket, golf, bridge, backgammon and chess. In 2000 he was the team leader for Vladimir Kramnik in London when he won the World Chess Championship from Garry Kasparov.
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Mitică is a male resident of Bucharest whose background and status are not always clear, generally seen as an allegory of the average Bucharester or through extension, inhabitants of Romania's southern regions—Wallachia and Muntenia. According to accounts, he was based on a resident of Sinaia, whom Caragiale had befriended. Caragiale used Mitică as a stock character to feature in satirical contexts; the biographical insights he provided are short and often contradict each other. Among Mitică's traits are his tendency to generate sarcastic comebacks and sententious catchphrases, a Francized speech, as well as inclinations to waste time and easily find his way out of problematic situations.
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In 1698, Vanbrugh's argumentative and sexually frank plays were singled out for special attention by Jeremy Collier in his Short View of the Immorality and Profaneness of the English Stage, particularly for their failure to impose exemplary morality by appropriate rewards and punishments in the fifth act. Vanbrugh laughed at these charges and published a joking reply, where he accused the clergyman Collier of being more sensitive to unflattering portrayals of the clergy than to real irreligion. However, rising public opinion was already on Collier's side. The intellectual and sexually explicit Restoration comedy style was becoming less and less acceptable to audiences and was soon to be replaced by a drama of sententious morality.
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3 Plutarch spoke of Pittheus' account in the following verses: > "[Pittheus] had the highest repute as a man versed in the lore of his times > and of the greatest wisdom. Now the wisdom of that day had some such form > and force as that for which Hesiod was famous, especially in the sententious > maxims of his 'Works and Days' .One of these maxims is ascribed to Pittheus, > namely: — 'Payment pledged to a man who is dear must be ample and certain.' > At any rate, this is what Aristotle the philosopher says, and Euripides, > when he has Hippolytus addressed as 'nursling of the pure and holy > Pittheus,' shows what the world thought of Pittheus."Plutarch.
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The pompous, pedantic, venomous Monsieur Cardinal will long survive as the true image of sententious and self-glorifying immorality. M. Halévy's peculiar qualities are even more visible in the simple and striking scenes of the Invasion, published soon after the conclusion of the Franco-German War, in Criquette (1883) and The Abbot Constantine (1882), two novels, the latter of which went through innumerable editions. Émile Zola had presented to the public an almost exclusive combination of bad men and women; in L'Abbé Constantin all are kind and good, and the change was eagerly welcomed by the public. Some enthusiasts robustly maintain that the Abbé will rank permanently in literature by the side of the equally chimerical Vicar of Wakefield.
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Widely considered to be one of his best poems, Keats's "Ode" ends on what many think a sententious note with its proclamation that "Beauty is truth, truth beauty." But Brooks sees this as dramatically appropriate; it is a paradox that cannot be understood except in terms of the entire poem, if we take seriously Keats's metaphor of the urn as a dramatic speaker. Part of the intent of The Well Wrought Urn is to dispel the criticism that Brooks in his earlier works had dismissed the eighteenth and nineteenth century English poets, particularly the Romantics. Brooks thus includes "Intimations of Immortality" by Wordsworth and "Tears, Idle Tears" by Tennyson along with the Pope, Gray, and Keats poems.
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Although her work has been overlooked and forgotten, Mary Ann Colclough was one of the earliest, and certainly among the most talented, of feminist leaders in this country. During the late sixties and early seventies and under the pseudonym of “Polly Plum”, she came to the fore as a contributor to various colonial newspapers. Her articles, which were most competently written, ranged over a variety of topics from matters of domestic interest, good housekeeping, and the like, to a forthright advocacy of “women's rights”. Her early journalistic sallies were sententious in tone, very much in accord with the literary conventions of the day, but her mature writing was concerned mainly with those issues which affected women's status in the home and community.
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The priamel, a brief, sententious kind of poem, which was in favor in Germany from the 12th to the 16th centuries, belonged to the true gnomic class, and was cultivated with particular success by Hans Rosenblut, the lyrical goldsmith of Nuremberg, in the 15th century. Gnomic literature, including Maxims I and Maxims II, is a genre of Medieval Literature in England. The gnomic spirit has occasionally been displayed by poets of a homely philosophy, such as Francis Quarles (1592–1644) in England and Gui de Pibrac (1529–1584) in France. The once- celebrated Quatrains of the latter, published in 1574, enjoyed an immense success throughout Europe; they were composed in deliberate imitation of the Greek gnomic writers of the 6th century BCE.
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A French translation appeared in 1825. In 1824 Blackwood was prepared to pay £1000 for the second novel, The Inheritance, which according to 20th-century scholars, "mixes sententious moralizing with detailed, wry, caustic observation of the 'thrice-told tale' of factors which make unions happy or unhappy." The third novel, Destiny, was dedicated to Sir Walter Scott, who found that Robert Cadell of Edinburgh was willing to pay £1700 in 1831. In 1841 Ferrier sold the copyrights to the three novels to Richard Bentley, who reissued them in an illustrated edition with authorial revisions. In 1851 this edition was reprinted, with Ferrier's name included for the first time as the author. The library edition of 1881 and 1882 included a Memoir.
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In 1935 Hodge, then in his second year at Oriel, wrote a review of the first volume of Epilogue, an irregular critical journal, which led to a correspondence with its editor, the American poet Laura Riding. Riding invited Hodge to visit her at the house in Majorca she shared with Robert Graves, and Hodge duly turned up in time for Christmas. He made an excellent impression; Graves noted in his diary, "Hodge very decent & sensible", and described him as "young, blonde good head". Another description of his appearance a year or so later described him as "a small blond boy with a cherubic soprano's face, an incongruously deep and hollow voice, and a deliberate, sententious manner; he seemed about sixteen".
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He had hoped to be made Minister of Finance, and was disappointed by the nomination of Necker, of whom he became a bitter opponent. He was intimate with the comtesse de Tess, sister of the duc de Choiseul, and in 1781 met Madame de Créquy, then sixty-seven years of age, and began a long friendship with her. His first book was the fictitious Mémoires d'Anne de Gonzague, princesse palatine (1786), thought by many people at the time to be genuine. In the next year followed the Considérations sur les richesses et le luxe, combating the opinions of Necker; and in 1788 the more valuable Considérations sur l'esprit et les mœurs, a book which abounds in sententious, but often excessively frank, sayings.
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In this article he wrote that during this process "scholarly rigour and historical strictness were slowly seeping out of both man and History, and that a sententious showiness in both of them, as it grew, was making the whole undertaking unworthy of the imprint of a scholarly publishing house".Ryan, "Manning Clark," 10 Ryan's article was attacked by a range of critics, notably historians such as Russel Ward, Don Watson, Humphrey MacQueen, Stuart Macintyre and Paul Bourke, and the critic Robert Hughes. The polemic raged along left-right lines. On 24 August 1996, the attack on Clark's reputation reached a new level with a front-page article by the Rupert Murdoch owned Herald Sun, alleging that Clark was a Soviet spy.
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In 1946, as Heidegger's continued teaching privileges came into question by the denazification committees, he made Beaufret's acquaintance. Beaufret engaged Heidegger on the development of French existentialism, and Heidegger wrote the Letter on Humanism (Brief über den Humanismus) to Beaufret in response. Beaufret took his students to visit Heidegger at Todtnauberg in 1947 following a month-long Franco-German academic exchange at Freiburg im Breisgau, while Baden-Württemberg was still under French occupation. Jean-François Lyotard, one of the group of students on the trip selected to visit Heidegger, wrote about the experience thus: :I remember a sly peasant in his Hütte, dressed in traditional costume, of sententious speech and shifty eye, apparently lacking in shame and anxiety, protected by his knowledge and flattered by his discipline.
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The phrase "In the bathroom of La Perla de Once you composed 'La balsa'", said by Martínez in a "sinister and sententious" way, is looped until Tanguito starts playing. Clarín felt that the song's lyrics "are heard differently when it is known that the one who sings them ended up under a train, gripped by hard drugs and the effects of electroshock." Mariano del Mazo of Página/12 wrote: "Thus was born—with that record and that phrase, more than with his death—the first martyr of Argentine rock: a modest martyr, corresponding to a ghetto, a marginal music." The repeated statement spoken by Martínez established the iconic status of La Perla, and installed the myth that Nebbia stole the song from Tanguito, taking advantage of his "madness and ingenuity".
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It is thought that Shirley's revision of Chapman's original most likely took place in 1634–35, between Chapman's death in the earlier year and Herbert's record. T. M. Parrott, a leading Chapman scholar, provided a breakdown of the two writers' shares: :Chapman — Act I, scene i; Act II, scene iii; Act v, scene ii; :Chapman and Shirley — Act II, scene ii; Act III, scene ii; Act IV; Act V, scene i; :Shirley — Act II, scene i; Act III, scene i. According to Parrott, Shirley "has cut down long epic speeches, expunged sententious moralization, filled in with lively dialogue, and has strengthened the figures of the wife and Queen for a feminine interest." Robert Stanley Forsythe, The Relations of Shirley's Plays to the Elizabethan Drama, New York, Columbia University Press, 1914; p. 417.
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He had bluish gray eyes and a somewhat sallow complexion, but which > inclined to ruddiness upon exercise or from blushing, a habit he was much > given to from excessive diffidence. His nose, long and thin, and his > forehead, broad and angular, were his most characteristic features. Being an > intense student, his mind appeared to be constantly preoccupied, and he > seldom spoke to anyone unless he was spoken to, and then his voice was thin > and feminine – almost squeaky – while his utterances were quick, jerky, and > sententious, but when once made were there ended; there was no repetition or > amending; no hypothesis or observation to lead to further observation. When > a jocular remark occurred in his hearing he smiled as though he understood > and enjoyed it, but never ventured comment to promote further mirth.
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According to the Dictionary of Literary Biography, modern historians of drama have generally considered Griffith's plays "undistinguished, often dramatically inept and tediously sententious" (175). Modern readers often feel uncomfortable with the conflicting relationship between women's ability and wifely duty and the general tone of subordination to men encompassed within the play. Though there remains very little scholarly work on Griffith's life and literature, her body of work represents both an interesting life and an illustration of the struggles of an ordinary woman of modest means attempting to make a career for herself in the 18th century. While not as well known to modern times as her contemporaries (like Susanna Centlivre), she was certainly a prolific writer in her own period and had made her name in the literary world by the time of her death.
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Divided into thirty parts, or "steps", in memory of the thirty years of the life of Christ, the Divine model of the religious, it presents a picture of all the virtues and contains a great many parables and historical touches, drawn principally from the monastic life, and exhibiting the practical application of the precepts. At the same time, as the work is mostly written in a concise, sententious form, with the aid of aphorisms, and as the reasonings are not sufficiently closely connected, it is at times somewhat obscure. This explains its having been the subject of various commentaries, even in very early times. The most ancient of the manuscripts containing the Scala is found in the Bibliothèque Nationale in Paris and was probably brought from Florence by Catherine de' Medici.
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In the serious part of Love's Last Shift, wifely patience is tried by an out-of-control Restoration rake husband, and the perfect wife is celebrated and rewarded in a climactic finale where the cheating husband kneels to her and expresses the depth of his repentance. Love's Last Shift has not been staged again since the early 18th century and is read only by the most dedicated scholars, who sometimes express distaste for its businesslike combination of four explicit acts of sex and rakishness with one of sententious reform (see Hume). If Cibber indeed was deliberately attempting to appeal simultaneously to rakish and respectable Londoners, it worked: the play was a great box-office hit. Sequel: The Relapse Vanbrugh's witty sequel The Relapse, Or, Virtue in Danger, offered to the United Company six weeks later, questions the justice of women's position in marriage at this time.
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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.
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Of the various works attributed, rightly or wrongly, to Ibn al-Muqaffa', there are two of which we have only fragments quoted in hostile sources. One, posing a problem of authenticity, may be described as a Manichaean apologia. The other is the Moarazat al-Quran, which sees not as anti-Islamic, but rather as an exercise designed to show that in the author's time something stylistically comparable to the Quran could be composed. Other compositions and occasional pieces attributed to Ibn al-Muqaffa' are the Yatima tania a short, sententious epistle on good and bad rulers and subjects ; may be authentic, though the long resāla entitled Yatimat al-soltan and the collection of aphorisms labeled Hekam certainly are not. A doxology is almost certainly spurious, though a series of passages and sentences that follow it may have come from the lost Yatima fi’l-rasael.
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The plot is very simple, and sometimes barely holds up the play, which then relies on the scenes it creates. In the majority of cases, it consists of a simple love story with the same basic structure: a couple is in love but some outside difficulty prevents them from consummating their love (always, by marrying each other in a happy ending); this difficulty is overcome and the story ends with a public dénouement, a happy ending and an implicit or explicit moral (as well as asking the audience's favour at the very end). Beside this structure, stereotyped characters from the Madrid scene are brought in (Madrid is typically the locale for these plays): the cheeky chappy, the colourful anarchist who avoids making provocative comments, the idler, the scrounger, the flirt, the sententious old geezer. There usually aren't any educated characters; instead, popular folk wisdom is represented.
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Henry Monnier playing the part of Monsieur Prudhomme (c. 1875), photograph by Étienne Carjat, musée d'Orsay Monsieur and Madame Prudhomme were a pair of French caricature characters of the 19th century, created by Henry Monnier. They were a bourgeois couple. Monsieur Prudhomme first appeared in 1830 in the first version of the Scènes de province, then in the play Grandeur et décadence de M. Joseph Prudhomme (1852) then in two volumes of collected drawings Mémoires de Monsieur Joseph Prudhomme (1857), then in Monsieur Prudhomme chef de brigands (1860). Plump, foolish, conformist and sententious, Joseph was called by Honoré de Balzac “l’illustre type des bourgeois de Paris” (the classic example of the Paris middle-classes). Paul Verlaine found inspiration from him for “Monsieur Prudhomme,” one of his Poèmes saturniens. Sacha Guitry wrote a play in 1931 called “Monsieur Prudhomme a-t-il vécu?”, freely inspired by Monnier’s life, and relating to the genesis of the character.
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In case the point has not yet been made, toward the end of the exhibit there is a group of nine portraits arranged around---yes, a mirror. Alongside is a quote from Bertrand Russell. " ... for the majority it is a slow torture of disease and disintegration." wrote Rollie McKenna, in his review of "The Family of Man," New Republic, 14 March 1955, p. 30. while Russell Lynes in 1973 wrote that Family of Man "was a vast photo-essay, a literary formula basically, with much of the emotional and visual quality provided by sheer bigness of the blow-ups and its rather sententious message sharpened by juxtaposition of opposites — wheat fields and landscapes of boulders, peasants and patricians, a sort of 'look at all these nice folks in all these strange places who belong to this family.'"Russell Lynes, Good Old Modern: An Intimate Portrait of the Museum of Modern Art (New York: Atheneum, 1973), 325.
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After completing his legal studies at the University of Bologna, he worked with the famous jurist Cavalier Luigi Salina alternating his work as a lawyer with the study of the fine arts which became a passion for collecting, making it one of the predominant collections in Italy in the nineteenth century. Maggiori moved to Rome in 1798, where he exploited the teachings of Domenico Corvi after which he lived in Fermo and retired in Sant'Elpidio a Mare, in the hunting lodge known as "The Castellano Mansion". Maggiori was a proponent of liberal orientation. He published several works on the basis of a criterion of utility, including several treatises on agronomy and the first modern edition of the Rime commented by Michelangelo Buonarroti (1817), The Dialogue around the life and work of architect Sebastiano Serlio of Bologna (1824), The artistic guide of the city of Ancona and Loreto (1832), and indications of the stranger paintings, sculptures, architecture and other features which can be seen today inside the sacrosanct basilica of Loreto and other parts of the city (1824) and the proverbs and sayings collection sententious (1833).
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