National literature is now rather an unmeaning term; the epoch of World literature is at hand, and everyone must strive to hasten its approach.
|
|
If we considered that any one of them were senseless, unmeaning, insignificant, we should at once in ordinary usage and in education disavow and disallow it. As it is, accepted idiom may unconsciously either illuminate or contradict experience. We speak, for instance, of going through trouble or trial; we never speak of going through well-being. That illuminates.
|
|
In spring and early summer, the Times is often violent, unfair, fallacious, inconsistent, intentionally unmeaning, even positively blundering, but it is very seldom merely silly. ... In the dead of autumn, when the second and third rate hands are on, we sink from nonsense written with a purpose to nonsense written because the writer must write either nonsense or nothing.
|
|
For an extended period of history, Glendower and his daughter were not shown on stage. Thomas Betterton’s 1680s edition cut of 3.1. John Bell’s 1774 edition excised 3.1 as a “strange unmeaning, wild scene” (43). In 1808, John Philip Kemble cut 3.1 entirely. Not until a 1864 revival at the Drury Lane theatre did the audience, for the first time since before Betterton, hear Lady Mortimer’s Welsh song and all of 3.1.
|
|
Stylianos Spyridacis University of California Davis faculty: Stylianos Spyridakis concisely expressed Tyche's appeal in a Hellenistic world of arbitrary violence and unmeaning reverses: "In the turbulent years of the Epigoni of Alexander, an awareness of the instability of human affairs led people to believe that Tyche, the blind mistress of Fortune, governed mankind with an inconstancy which explained the vicissitudes of the time."Spyridakis, Stylianos. "The Itanian cult of Tyche Protogeneia", Historia: Zeitschrift für Alte Geschichte 18.1 (January 1969:42-48) p. 42.
|
|
Because Kearfott's names were published in widely distributed scientific journals and his species were adequately described and diagnosed, his names are valid. However, his naming practices were not deemed appropriate by other entomologists; Edward Meyrick even responded to Kearfott's work with a paper called "On some impossible specific names in Micro-Lepidoptera", published in 1912. In this paper Meyrick described Kearfott's names as "openly and obviously based on a barbarous and unmeaning gibberish." Meyrick rejected Kearfott's names and proposed new "appropriate" Latin names to replace them.
|
|
Contemporary reviews were mixed. The anonymous critic in the Boston Notion suggested that Poe's work was better suited for readers of the future; people of the time should consider it "below the average of newspaper trash... wild, unmeaning, pointless, aimless... without anything of elevated fancy or fine humor". Alexander's Weekly Messenger, on the other hand, remarked that the stories were the "playful effusion of a remarkable and powerful intellect". Likewise, the New York Mirror complimented the author's intellectual capacity, his vivid descriptions, and his opulent imagination.
|
|
Boston Commercial Gazette; Date: 12-01-1825 He received raves in the press: "He exercises his scissors with so much dexterity and skill, that an accurate profile, even of the most 'unmeaning face,' can be procured in twenty-five seconds, without the use of steam."Boston Commercial Gazette; Date: 11-24-1825 Local resident John George Metcalf visited the gallery in 1825, and wrote in his diary: > Hubard Gallery. This is a collection of cuttings of black paper of all the > shapes and figures that can possibly be imagined. The figures after being > cut out, are arranged and pasted on white paper which are skilfully and > tastefully placed about the Hall.
|
|
This book was republished—enlarged from 148 to 256 pages—at Abbey's expense in 1885, and in 1895 it was published again at the author's expense with thirteen poems added. Its fourth and final publication, with nine more poems and 359 pages, appeared in 1904, this time again by D. Appleton. Abbey's work received a mixed reception in the American press: the Atlantic Monthly, in an anonymous review of Stories in Verse in 1869, condemned the "kalaidoscopic effects" and the "preposterously unmeaning color and glitter" of his rhetoric (p. 384), and fifteen years later the Century magazine described the major poems in The City of Success as "labyrinths of vast and imposing imagery, enshrouding some dimly descried moral".
|
|
Try to discover any sense in > which you can still continue to speak of it, when all perception and feeling > have been removed; or point out any fragment of its matter, any aspect of > its being, which is not derived from and is not still relative to this > source. When the experiment is made strictly, I can myself conceive of > nothing else than the experienced. Anything, in no sense felt or perceived, > becomes to me quite unmeaning. And as I cannot try to think of it without > realising either that I am not thinking at all, or that I am thinking of it > against my will as being experienced, I am driven to the conclusion that for > me experience is the same as reality.
|
|
The inscription, from Byron's poem Epitaph to a Dog, has become one of his best-known works: The poem Epitaph to a Dog as inscribed on Boatswain's monument > Near this Spot Are deposited the Remains of one Who possessed Beauty Without > Vanity, Strength without Insolence, Courage without Ferosity, And all the > Virtues of Man without his Vices. This Praise, which would be unmeaning > flattery If inscribed over Human Ashes, Is but a just tribute to the Memory > of "Boatswain," a Dog Who was born at Newfoundland, May, 1803, And died at > Newstead Abbey > Nov. 18, 1808. Byron had wanted to be buried with Boatswain, although he would ultimately be buried in the family vault at the nearby Church of St Mary Magdalene, Hucknall.
|
|
Many may smile at these divisions as unnecessary and unmeaning, and many may wonder that such a mind as that of Dr. M'Crie should have been so intent in reconciling them. But religious dissension is no triviality, and the bond of Christian unity is worth any sacrifice short of religious principle; and upon this subject, therefore, the conscientious spirit of Dr. M'Crie was as anxious as ever was statesman to combine jarring parties into one, for the accomplishment of some great national and common benefit. While thus employed, a heavy public bereavement visited him with all the weight of a personal affliction; this was the death of the Rev. Dr. Andrew Thomson, who, in the full strength and vigour of his days, suddenly fell down and expired upon the threshold of his home, which he was just about to enter.
|
|
Firstly, in his attempt to deal with black and white. He suggested that the admixture of opposing colours create "a dirty unmeaning colour" and he contended that the admixture of red, blue and yellow "in equal force and in the strongest powers which by violently opposing each other and in very unequal contest are all three continually defeated, causing a total confusion and obscurity in darkness", thereby suggesting that these three colours create black. In reference to this claim, the centres of each colour wheel feature three overlaid colours (red, yellow and blue, and orange, green and purple) outlined in black (as a result of the engraving process used to create the illustration) thereby causing a blackish effect but on closer inspection, the central segment of each colour wheel appears a dark, murky brown. In reference to white, Harris suggested that white represented a "total privation or absence of colour".
|
|