Dominance et résistance dans la phonétique latine by C. Juret

By C. Juret

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Sample text

Much of her most energetic criticism went into harrying and attempting to discredit the use of these metaphors in connection both with authority in religion and with logical trains of thought in argument. That which safely bears us in the gulfs of space is no base or basis, no motionless central rock, but throbbing energies in complex and manifold action, in swing and wave and thrill, whirling us on in mighty sweeps of rhythm to which our hearts are set . ' 1 9 Her knowledge of radio waves and planetary movement led her to deny all validity to metaphors of weight, immobility and architecture in the discussion or description of truth.

Images of a breathing, sentient universe, interlinked by human and superhuman sympathy, run all through the poem 57 — the 'electric chain of feeling' which binds all hearts to Heaven through Nature with gladness and music. This theory is first mentioned by Lady Emmeline in London at Night, I think; it is essential to the thought both of Lady Emmeline and her daughter. The language of immoderate emotion — both of universal sympathy, and of fire, levin, frenzy and tempest — must have been familiar to the young Victoria from early childhood.

How they speed to the shock with an impulse of rapture! Though the foe nobly braves them — but rarely she baulks! . Ho! Falcons of Fire! how they hurl themselves down! How they strike - how they strive - there! - she staggered - she reeled! We have ridden as though on their wings we had flown, And the Prince of the Land is the first in the Field! All the Heaven is alive with the uproar and flutter; The Earth seems a movement - a madness the Air! The Prince mentioned here is not a metaphor for the hawk; the song was written at The Hague in July 1840 and the Prince was the Prince of Orange.

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