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From: Arnerich C. <fla...@ge...> - 2010-03-30 10:31:23
|
He poor girl is evidently jealous, and her heart will break." "Dearest, dearest Emily," said I, passing my arm round her, and approaching my head close to her's, "if you think that any other love than yours could ever beat within this heart--that I could see you hourly before me--live beneath your smile, and gaze upon your beauty--and, still more than all--pardon the boldness of the thought--feel that I was not indifferent to you."-- "Oh! spare me this at least," said she, turning round her tearful eyes upon me, and looking most bewitchingly beautiful. "Have I then showed you this plainly?" "Yes, dearest girl! That instinct which tells us we are loved has spoken within me. And here in this beating heart"-- "Oh! say not more," said she, "if I have, indeed, gained your affections"-- "If--if you have," said I, clasping her to my heart, while she continued to sob still violently, and I felt half disposed to blow my brains out for my success. However, there is something in love-making as in fox-hunting, which carries you along in spite of yourself; and I continued to pour forth whole rhapsodies of love that the Pastor Fido could not |
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From: Taveras S. <dec...@fu...> - 2009-09-04 15:50:14
|
Rrassment of Austria as the occasion for taking a stronger position in Germany; if it were necessary he was prepared to go as far as an alliance with France. He was influenced not so much by sympathy with Piedmont, for, as we have seen, he held that those who were responsible for foreign policy should never give way to sympathy, but by the simple calculation that Austria was the common enemy of Prussia and Piedmont, and where there were common interests an alliance might be formed. The Government were, however, not prepared to adopt this policy. It might have been supposed that a Liberal Ministry would have shewn more sympat |
From: McClod <con...@me...> - 2009-09-03 10:13:45
|
back upon the Hebrew idioms with which he was so familiar. Finally we must remember that, after the analogy of the Old Testament prophecies, this prophetic book is expressed in _poetic diction_. It is full of images borrowed from the old Hebrew prophets, often spiritualized and applied in a higher sense. Looking to the imagery alone, one may well call this book a _grand anthology_ of the old Hebrew poets. But the poetic diction of one and the same writer may differ widely from his prose style, as we see in the case of Moses, Isaiah, and Jeremiah. If the above considerations do not wholly remove the difficulty under consideration they greatly relieve it. The apostolic authorship of the fourth gospel and the first epistle of John is sustained by a mass of evidence that cannot be set aside. That the same John also wrote the visions of the Apocalypse is attested, as we have seen, by the almost unanimous voice of antiquity. Far greater difficulties are involved in the denial of the ancient tradition of the church than in the admission of it. 3. The _date_ of the Apocalypse has been a matter of much discussion, the great question being whether it was written before or after the destruction of Jerusalem by the Romans. The external testimony strongly preponderates on the side of a late date; for the great body of this tradition represents the banishment of the apostle to the isle of Patmos as having taken place under Domitian who succeeded Titus, and reigned from A.D. 81 to 96. This supposition also agrees with the fact that the recipients of our Lord's seven messages (chaps. 2, 3) are the seven churches of Proconsular Asia, among whom, according to the unanimous testimony of the primitive church, the apostle spent the latter years of his life. The hypothesis of an earlier date is but feebly supported by external testimony. It re |
From: Corrow <geo...@co...> - 2009-08-17 11:05:09
|
D, and the Three Graces. He was one of the early artists to break through the old wall of religious convention, painting frankly mythological subjects, and he did them in an exquisite manner all his own. The true spirit of beauty dwelt within him, and all that he painted and designed was graceful in form and beautiful in colour. If, for instance, you look closely into the designs of the necks of dresses in his pictures, you will find them delightful to copy and far superior to the ordinary designs for such things made to-day. In his love of beauty and his keen appreciation of the new possibilities of painting he was a true child of the Renaissance, though he had not the joyous nature so characteristic of the time. Moreover, as I have said, he retained the old sweet religious spirit, and clothed it with new forms of beauty in his sacred paintings. There is something pathetic about many of these--the Virgin, while she nurses the Infant Christ, seems to foresee all the sorrow in store for her, and but little of the joy. The girl angels who nestle around her in so many of his pictures, have faces of exquisite beauty, but in most of them, notwithstanding the fact that they are evidently painted from Florentine girls of the time, Botticelli has infused his own personal note of sadness. At the end of the fifteenth century, when Botticelli was beginning to grow old, great events took place in Florence. Despite the revival of learning, we are told by historians that the Church was becoming corrupt and the people more pleasure-loving and less interested in the religious life. Then it was that Savonarola, a friar in one of the convents of Florence, all on fire with enthusiasm for purity and goodness, began to awaken the hearts of the people with his burning eloquence, and his denunciations of their worldliness and the deadness of the Church. He prophesied a great outpouring of the wrath of God, and in particular that the Church would be purified and renewed after a quick and terrible punishment. The passion, the conviction, the eloquence of Savonaro |
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