190 Sentences With "gnomic" | Random Sentence Generator

Alan Greenspan, chairman of the Fed between 1987 and 2006, was famously gnomic.

Constitution confronts, given how old and often gnomic the document is and how

Written on each person's place card is a gnomic utterance about its bearer.

Perfectly wrought in gnomic scenes, it treats Beckett with spare, sometimes stark delicacy.

His disordered language is a neurological effect, not a tendency toward gnomic utterances.

The biography lives in Arbus's gnomic utterances, so disarming to friend and foe alike.

Truly the master of the Exacto knife, this work is meticulous and detailed, yet never gnomic.

Yet it remains a bit gnomic: "Far from my rescue are the words that I roar"?

Ms. Kawakubo's work can be confounding, and the explanations she occasionally gives are gnomic at best.

Though it lasts only 75 minutes, the production feels long and oddly cluttered by its gnomic dialogue.

Like Warhol and his disciple Jeff Koons, Marisol was aloof and opaque, a master of the gnomic pronouncement.

At first it's hard to tell — who asks her a series of gnomic questions from a computer game.

Mr. Smith, the BuzzFeed News editor, told me that the special counsel's office was "gnomic" in its denial.

So her latest salvo or entry into the gnomic ranks of Instagram mystery-makers, has us scratching our heads.

Here, the opera's first part, "Contact," establishes the rough outline of the stylized, mythlike story, told with gnomic economy.

In images, the work appears as an eerie, gnomic scattering of 24 tall, white boxes, isolated on a hill.

That synchronizing of the gnomic with the recognizable — we can call it her transparent opacity — animates these graphic works, too.

The royals are virtual prisoners of the Imperial Household Agency, the gnomic bureaucracy that runs the world's oldest hereditary monarchy.

" Explaining the challenges of his art, the revered tap master Jimmy Slyde says in his gnomic fashion: "There's balance involved.

The greatest charms of shopping on the Palace website are the descriptors for each item, gnomic bricks of all-caps poetry.

The catalogue, which contains a marvelously short, gnomic essay by Ray from which I quoted, discusses theology, astrophysics, and science fiction.

It was a joyful thought from a most serious designer and, like many of her gnomic statements, open to personal interpretation.

Beckett included copious stage directions alongside the gnomic dialogue as the characters discuss, with dark humor, the meaninglessness of the human condition.

They also add a little David Fincher flavor by having an unseen character feed Annie information in the form of gnomic riddles.

The song stutters beautifully, with Doom leaning in to his whimsically disruptive imagery, and featuring a characteristically gnomic verse by Jay Electronica.

A Chloë Sevigny devotee, she mastered the art of the gnomic fashion-mag Q. & A. The decade that defines her personal style?

Debussy, facing the gnomic text of "Pelléas," made the radical decision to set it line by line, without recourse to a versifying librettist.

Warmly pointillistic in nature, the miniatures gained additional dimensions — sometimes comic, sometimes gnomic — whenever Mr. Mumma's digital gear asserted itself over the pianism.

In his part gnomic, part mechanic's style, Mr. Pirsig's narrator declares that the real world is a seamless continuum of the material and metaphysical.

It may also represent the end of an era, if Wenger's gnomic comments on his future in the aftermath are anything to go by.

As the ghostwriter contends with underworld escapades, farcical publishing-industry posturing, and his gnomic subject, he becomes obsessed with the boundary between fiction and reality.

Ibrahimovic's carefully crafted public image could be read as a homage to Cantona, with his upturned collar and gnomic statements, packaged for the Instagram generation.

He and a friend peppered downtown with gnomic words and sketched images signed " Samo " (short for "same old shit") and adorned with the copyright symbol.

In moments of distress, he turns to Oblique Strategies, the pack of cards, printed with gnomic guidance for blocked artists, co-written by Brian Eno.

The viewer inevitably homes in on the content like a cryptologist, imaginatively decoding Pousette-Dart's gnomic figurations, pulsating color patterns, and heavily painted, three-dimensional textures.

Her story is told, in Stein's inimitably gnomic text, as a series of quasi-perplexing episodes mashing made-up characters with fanciful versions of historical figures.

I could go on and must go on — yet how to explain the seemingly unexplainable, beginning with a narrative and language that borders on the gnomic?

In a series of nonfiction books since then, he has acted as a kind of cosmopolitan Yoda, dispensing gnomic wisdom about Proust, travel, architecture, work and religion.

It's true that her books can be best understood as a kind of cracked "Alice in Wonderland" — with their gnomic wordplay, obsession with naming and inexplicable punishments.

The music seems to wrap around and subtly trail off the words; the lucid orchestra is neither bullying nor reticent, producing an atmosphere of gnomic, melancholy beauty.

GOOGLE pictures of Jacqueline Kennedy and a set of rather impersonal, gnomic categories appears to help sort through the millions of photographs: "family", "pink suit", "fashion", "wedding", "funeral".

They suspect that Rust, who by now has taken to mustache-growing and expressing himself in gnomic expressions ("Time is a flat circle") might himself be the killer.

At both of her New York dates, she will be joined by the gnomic West Coast rapper Earl Sweatshirt and the free-jazz torchbearers of the Sun Ra Arkestra.

Most of the other 10 programs consist of shorts that have been gathered under gnomic and generic headings like "Beyond Landscape," which draws together titles that deal with, yes, landscape.

A widely acclaimed drummer with a mix of artful restraint and joyful abandon, Wilson last year released "Honey and Salt," an album setting Carl Sandberg's gnomic poetry to original music.

Before long, amid the swells and landscape beauty shots, Sando is dropping gnomic wisdom that announces the story's metaphysical ambitions and reminds you that lamas come on land and on sea.

He mentioned that fortune — "two bad goals, incredibly lucky or unlucky, depending on your perspective" — and he indulged in the sort of gnomic contortion of reality that might please a tyrant.

Unadorned grayish windows on opposing sides of the elevator shaft come off as distinctly gnomic formations, while the naively painted green landscape and cloud-filled blue sky seem partitioned into neat grids.

The play's two male characters are both played by the excellent John Mackay: that one of them is known simply as F tips you off to the deliberately gnomic landscape on view.

Rendering many of the clothes in peekaboo shower-curtain PVC, Ms. Kawakubo bundled the entire enterprise into one of the protest statements she has increasingly made part of her otherwise often gnomic brief.

Paul is Christianity's great and early ideologue, the man who shaped its legacy, who took a cluster of strange parables and sometimes gnomic statements and, emphasizing the apocalyptic, built them into a theology.

These photos were the beginning of a seven-year series—and now a book published by Gnomic Book—titled Abendlied, which served as a backdrop for several smaller projects about her mother and grandmother.

Well, unlike the sprightly Mr. Wonka, Halliday is dead, but no matter, for he remains alive in the shape of his digital avatar, a gnomic graybeard by the name of—give me strength—Anorak.

They look bureaucratic at first, but soon you find gnomic phrases like "Freedom — We Missed That Boat Again," alongside the names of men killed in action or struck down by pneumonia and yellow fever.

His statements tended toward the gnomic: The orchestra is an ideal image of society; music strengthens the spiritual development of the country; students who play in an orchestra develop a different set of values.

And the things he uses it to say ("sing" isn't quite right, is it?)—all the gnomic stuff about the darkness doubling, the recollection of lightning striking itself, the vision of the titular marquee moon.

Cartoon by Roz Chast Hammons, whose eight-and-a-half-by-eleven-inch drawing could be said to have precipitated both projects, has played a quiet and somewhat gnomic role in the first one's realization.

"Chalk," by Joshua Rivkin, is what happens when your quarry happens to be a maniac for privacy and prevarication, a one-time army cryptographer whose art rejoices in gnomic ideograms, illegible phrases and inside jokes.

Two sculptors, the Austrian native Day Schnabel and Russian-born, French-educated Marguerite Guitou Knoop, bring classical and Cubist elements to bear on American audacity, producing sculptures that look primordial yet modern, accessible while also gnomic.

Should you seek the real thing, however, I would steer you toward "Gerhard Richter Painting" (2011), a fine documentary by Corinna Belz, which reveals the artist to be far more gnomic than Kurt Barnert, and more puckishly amused.

Her new album includes "You Wouldn't Know Me," from a cult album released in 1978 by a Texas singer-songwriter named Shake Russell: his version is a wonderfully shaggy country-rock song, with gnomic lyrics descended from the blues.

" Finally, Foer strews small, semiprecious comic and gnomic gems all along the trail he is breaking: "The familiar gathering of unfamiliar family"; "as irrelevant as echolocation"; "At the center of the table, impossibly dense kugels bent light and time around them.

And Sonja — who has the translator's heightened sensitivity to language — endures hours of what sounds like gnomic life advice from her instructor: "If you'd just glance back into your blind spot to the right you'll be fine," her teacher barks.

When I first encountered Martin Crimp's "The Treatment" at the Royal Court in 1993, the play seemed like a deliberately gnomic exercise in sidelong nihilism, and it was largely greeted as such when it appeared Off Broadway that same year.

He loathes what he calls "the theater of the already known," and in the custom curriculum he prepares for each student, he dispenses gnomic advice: Write plays with your nondominant hand; write plays "covered with fur"; insert, whenever possible, a farting dwarf.

Their likenesses are stitched into Gucci garments — along with a menagerie of bees, ghosts and gnomic sentiments about blindness and love — and Gucci garments, according to a report issued this week by the RealReal, the online luxury consignment giant, is selling, selling, selling.

As Franz worries over what to do, Malick stages encounters with Fani and fellow villagers against arresting backdrops, as if he directed the actors simply to pace around each other and utter gnomic pronouncements about good, evil and the nature of God.

Advertise on Hyperallergic with Nectar Ads In the middle of the artist's book published in conjunction with her gnomic and unsettling Queens Museum exhibition, The Wandering Lake, 2009-2017, Patty Chang puts forth a stunning meditation on the role of art in the Anthropocene.

Styles range from the verbal Conceptualism of Lawrence Weiner's gnomic, block-lettered text, which reads, "An Abrogation of the Inherent Destiny of Any Object At Hand," to the funky surrealism of Monica Cook's "Cobra," a monstrous snake made of stuffed stockings and porcupine quills.

Recalling the gnomic character names in "Written on Skin," Edward is referred to only as the King (the charismatic baritone Stéphane Degout); his heir is the Boy (the tenor Samuel Boden); Edward's wife, Queen Isabella, is Isabel (the expressive and riveting soprano Barbara Hannigan).

If this story is proved true, it might alter the royalty payments from "Graceland," but it wouldn't alter our view of Simon, who used the raucous backbeat in an unexpected way, as the base for a bittersweet fable about a gnomic former talk-show host.

The secretive, gnomic, oatmeal-complected Hinkie, author of an 11-page resignation letter that reads like lorem ipsum filler text comprised entirely of management patois, seems like an odd fit for the role of redeemer/martyr, and strictly in terms of his own charmless and charisma-free pragmatism he absolutely is.

A glass ceiling soaring over a room defined on one wall by the limestone Greek Revival facade of Martin E. Thompson's Branch Bank of the United States, the space conjures both this opera's period inspirations and its modern perspective, its often cozy music and Stein's inimitably gnomic, charming, moving text.

The author of this sparkling memoir achieved two of the greatest coups in literary biography: writing a semi-authorized life of Samuel Beckett, which the gnomic Irishman promised to "neither help nor hinder," and a life of Simone de Beauvoir, which was based on interviews conducted immediately before the philosopher's death.

Paul Colinet's hand-drawn artist's book ABS-TRAC-TIVE-TREATISE-ON OBEUSE given to Breton as a sign of friendship in 1948, sparkles with gnomic and painterly wit in the shades of a Kenneth Patchen or Bob Brown, and can't help but leave you laughing out loud from start to finish.

For months now, one such anonymous source — an internet user called "Q Clearance Patriot" or "Q," posting on anarchic, underbelly-of-the-internet message boards like 4chan and 8chan — has been spreading its "crumbs" across the web, offering up a running commentary on the state of the nation in a gnomic and paranoid style.

And over and over, he finds the same thing: people hopefully talking to machines as if they can understand, taking whatever vague, gnomic answers they get in return as a positive sign, and either attempting to bridge the gap between regurgitated programmed language and actual understanding, or just acting as if there's no gap at all.

The director is Julien Faraut, and the narrator is Mathieu Amalric, who played the villain in "Quantum of Solace" (2008), and whose tender tones deliver a stream of gnomic propositions: "When you watch a tennis match, you don't ever really know what you're watching," for example, which is not something that one hears too often on ESPN.

Smaller items were gathered around the register, like a series of sharp geometric earrings, including squares in gold-plated silver ($36), by Plateaux Jewellry; a couple of books by Lydo Le, including the resilient and surprising "Some Feelings," a series of anti-gnomic declarations of internet-era confusion ($15); and some eccentric fringe to attach to the top of your shoes, made by Raoulle ($42).

Because her prose is quite lyrical — sometimes gnomic, sometimes philosophical — more polished drawings would render a book too mannerist to be genuinely enjoyable: "Being drunk is how you dissociate your mind from your body in order to perform," she writes in the upper part of a medium-gray panel, in which she appears naked, floating in mid-air above a bed, her pale body almost luminous.

" Avant-garde musicians were looking for audiences, and creepy political cults were looking for fresh recruits, yet those Ixnae Nix posters "advertised nothing but themselves," Mr. Sante noted, with "obvious parallels to the gnomic phrases Jean-Michel Basquiat was then writing on walls in the last phase of his SAMO enterprise, and lightly suggestive of the single-panel cartoons Keith Haring was soon to begin chalking in blank poster frames in subway stations.

LONDON (Reuters) - A strain of malaria resistant to two key drugs has spread rapidly from Cambodia and has become dominant in Vietnam, Laos and northern Thailand, with a "terrifying prospect" that it could reach Africa, scientists warned on Monday, Using gnomic surveillance to track the spread of drug-resistant malaria, the scientists found that the strain, known as KEL1/PLA1, had also evolved and picked up new genetic mutations that may make it yet more resistant.

A sizable dollop of the text, truth be told, is given over to fin de siècle score-settling, mostly at the expense of critics and academicians, but it is nonetheless a surprise to encounter the Wild One's sentimental defense of stodgy old Jean-Auguste-Dominique Ingres, or his praise of Camille Pissarro as "a virgin who had many children but remained a virgin despite the seductions of money and power," or his two-line epigrammatic (if not gnomic) endorsement of Paul Cézanne: Apples, Rembrandt?

The only ungainsayable dietary guidelines are simple to the point of gnomic.

Gnomes are frequently to be found in the ancient literatures of Arabia, Persia and India, in Anglo-Saxon/Old English poetry and in the Icelandic staves. Comparable with the Anglo-Saxon examples are the Early Welsh gnomic poems.Jackson, Kenneth, Early Welsh Gnomic Poems. University of Wales Press, Cardiff. 1935.

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.

This notion belongs of St Maximus the Confessor. The term 'gnomic' derives from the Greek gnome, meaning 'inclination' or 'intention'. Within Orthodox theology, gnomic willing is contrasted with natural willing. Natural willing designates the movement of a creature in accordance with the principle (logos ()) of its nature towards the fulfilment (telos (), stasis ()) of its being.

Gnomic willing, on the other hand, designates that form of willing in which a person engages in a process of deliberation culminating in a decision. Within the theology of St Maximus, which was endorsed by the Sixth Ecumenical Council in condemning monothelitism, Jesus Christ possessed no gnomic will. St Maximus developed this claim particularly in his Dialogue with Pyrrhus. According to St Maximus, the process of gnomic willing presupposes that a person does not know what they want, and so must deliberate and choose between a range of choices.

The Loddfáfnismál (stanzas 111–138) is again gnomic, dealing with morals, ethics, correct action and codes of conduct. The section is directed to Loddfáfnir ("stray-singer").

With the gnomic writings of Pibrac it was long customary to bind up those of Antoine Faber (or Favre) (1557–1624) and of Pierre Mathieu (1563–1621).

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.

They display an inclination toward gnomic expression, and delight in folkloric stylizations.Aurel Sasu (ed.), Dicționarul biografic al literaturii române, vol. I, p. 641. Pitești: Editura Paralela 45, 2004.

Pindar (1972) The event where the victory was gained is never described in detail, but there is often some mention of the hard work needed to bring the victory about. A lot of modern criticism tries to find hidden structure or some unifying principle within the odes. 19th century criticism favoured 'gnomic unity' i.e. that each ode is bound together by the kind of moralizing or philosophic vision typical of archaic Gnomic poetry.

169: "Well known to students of counterpoint as an imposed cantus firmus, this sequence of notes is one of the most gnomic groupings of tones ever devised by Western music".

With the exception of Theognis, whose gnomes were fortunately preserved by some schoolmaster about 300 BCE, only fragments of the gnomic poets have come down to us. There is at least one known woman gnomic poet, Kassia; nearly 789 of her verses survive. The moral poem attributed to Phocylides, long supposed to be a masterpiece of the school, is now known to have been written by a Jew in Alexandria. Of the gnomic movement typified by the moral works of the poets named above, Gilbert Murray has remarked that it receives its special expression in the conception of the Seven Wise Men, to whom such proverbs as "Know thyself" and "Nothing in excess" were popularly attributed, and whose names differed in different lists.

"The Fortunes of Men", also "The Fates of Men" or "The Fates of Mortals", is the title given to an Old English gnomic poem of 98 lines in the Exeter Book, fols. 87a–88b.

Lakshmi, along with Parvati and Saraswati, is a subject of extensive Subhashita, genomic and didactic literature of India.Sternbach, Ludwik. 1974. Subhasita, Gnomic and Didactic Literature, A History of Indian Literature 4. Otto Harrassowitz Verlag. .

In J. R. R. Tolkien's constructed language Quenya, the aorist is a gnomic tense or simple present that expresses general facts or simple present actions.Helge Kåre Fauskanger. Ardalambion. Quenya - The Ancient Tongue. The Verb.

Tecosca Cormaic "The Instructions of Cormac" is a ninth-century Old Irish gnomic text which is cast as a dialogue between the legendary High-King of Ireland, Cormac mac Airt, and his son Coirpre Lifechair.

It was, unquestionably, the source from which moral philosophy was directly developed, and theorists upon life and infinity, such as Pythagoras and Xenophanes, seem to have begun their career as gnomic poets. Gnomes, in their literary sense, belong to the dawn of literature, in their naiveté and their simplicity and moralizing. Many of the ethical reflections of the great dramatists, and in particular of Sophocles and Euripides, are gnomic distiches expanded. The ancient Greek gnomes are not all solemn; some are voluptuous and some chivalrous.

At the same time, the proverbs resemble the gnomic compositions of earlier Anglo- Saxon instruction. The proverbs are expressed as highly compressed metaphors that are halfway to the poetry found in the Anglo-Saxon riddle and Gnomic Verses. Collections of sayings and precepts were common in Latin as well, but the distinctive compression of the Alfredian proverbs is clearly a sign of their Anglo-Saxon origin. Given that it is most likely that the author and his antecedents gathered up proverbs over time, the heterogeneous contents of the book are predictable.

Those of Demodocus of Leros had the reputation of being droll. J. A. Symonds writes that the gnomic poets mark a transition from Homer and Hesiod to the dramatists and moralists of Attica.Symonds, J.A., Studies of the Greek Poets, p. 256.

It was Charles M. Russell's summer home, where he hosted artist friends to paint and sketch landscapes and scenery of the park. Russell composed a number of gnomic sculptures using found objects such as wood and moss from the park.

Paul Cartledge, Sparta and Lakonia – A regional history 1300 to 362 BC. 2nd Edition. Hesiod has also been considered the father of gnomic verse.Symonds, Studies of the Greek Poets, p. 166. He had "a passion for systematizing and explaining things".

Marilyn Aronberg Lavin reads Piero della Francesca's gnomic Flagellation of Christ (c 1455-60) as a consolatio of two friends (portrayed) who had each recently lost a son. Laurence Sterne parodied Consolatio and solemn authors in his comic novel Tristram Shandy.

In a retrospective, The New Yorker described Hunter's verses as "elliptical, by turns vivid and gnomic", which were often "hippie poetry about roses and bells and dew", and critic Robert Christgau described them as "American myths" that later gave way to "the old karma-go-round".

Germanic languages developed their own form of poetic diction. In Anglo-Saxon and Old Norse, poetry often involved exceptionally compressed metaphors called "kennings", such as whale- road for "the sea", or sword-weather for "battle". Also, poetry often contained riddles (e.g. the Gnomic Verses in Anglo-Saxon).

Where the texts offer general moral comment, they may also be considered gnomic poetry, while works directed at particular personages or issues are rather political poetry. The most important medieval collection of Sprüche is the Jenaer Liederhandschrift (MS J), which also has a large number of Spruch melodies.

Machado, Manuel. "Los estrenos. Eslava - El sapo enamorado, por Borrás, música de Luna", from El Liberal, 14 November 1916. His literary works include a collection of 203 very short stories (what would now be called "flash fiction") entitled Cuentos gnómicos (Gnomic Tales), which were published in thirteen volumes between 1940 and 1969.

To judge from the few fragments that are preserved in other ancient authors, the hero's lessons consisted of moral, religious and practical advice., . As such, the poem shows affinities not only with the Hesiodic Works and Days,. with which it shared its hexameter verse form, but also with the gnomic elegies of Theognis..

Monuments and Maidens: the allegory of the female form. Berkeley: University of California Press, 2000. p. 329 As a seer, "Tiresias" was "a common title for soothsayers throughout Greek legendary history" (Graves 1960, 105.5). In Greek literature, Tiresias' pronouncements are always given in short maxims which are often cryptic (gnomic), but never wrong.

Reviewing a performance of the work at Barenboim's 70th birthday concert, Rosie Pentreath of the BBC Music Magazine declared Dialogues II "the only work, one can confidently say, written by a 103-year old." She added, "it is brief, gnomic, and confidently played." The composition was also lauded by Keith Bruce of The Herald.

Additionally, some 789 of her non-liturgical verses survive. Many are epigrams or aphorisms called "gnomic verse", for example, "I hate the rich man moaning as if he were poor." Kassia is notable as one of at least two women in the middle Byzantine period known to have written in their own names, the other being Anna Comnena.

Gnomic will () is an Eastern Christian theological notion meaning spontaneous individual aspiration and movement of the mind.„Θἑλημα γνωμικόν ἐστιν, ἡ ἐφ᾽ ἑκάτερα τοῦ λογισμοῦ αὐθαίρετος ὁρμὴ τε καὶ κίνησις.” – PG 91 / Opuscula Theologica et Polemica / col. 153Sotiris Mitralexis, Georgios Steiris, Marcin Podbielski, Sebastian Lalla. «Maximus the Confessor as a European Philosopher» / Wipf and Stock Publishers / 18.09.

It may contrast with inferential mood. Reference is sometimes made to a "generic mood", for making general statements about a particular class of things; this may be considered to be an aspect rather than a mood. See gnomic aspect. For other grammatical features which may be considered to mark distinct realis moods, see Evidentiality, Sensory evidential mood, and Mirativity.

Part II, §xi When one looks at the duck-rabbit and sees a rabbit, one is not interpreting the picture as a rabbit, but rather reporting what one sees. One just sees the picture as a rabbit. But what occurs when one sees it first as a duck, then as a rabbit? As the gnomic remarks in the Investigations indicate, Wittgenstein isn't sure.

Megala Erga 287 Merkelbach–West. The other securely attributed fragment resembles many of the gnomic utterances that characterize the Works and Days: Other fragments that have been tentatively assigned to the poem concern the strengths man possesses at different points in his life (fr. 321),"Deeds are of the young, counsels of the middle-aged, prayers of the old", trans. (his fr. no. 271).

The cultural code is constituted by the points at which the text refers to common bodies of knowledge. These might be agreed, shared knowledge (the real existence of the Faubourg Saint-Honoré) or an assertion of axiomatic truths (the assertion in the first sentence that all men daydream at parties, no matter how lively the party is). He calls the latter a 'gnomic code'.

Of the two or four kings, Diarmait was the most active according to the record which survives in the Irish annals. Relatively little is reported of Blathmac. The deaths of three of his sons are recorded during his lifetime. The death of Eochaid in 660 is reported without explanation, but the notice of the killing of Dúnchad and Conall in 651 is accompanied by some gnomic verses.

Colognian has indicative and conjunctive moods, and there are also imperative and energetic mood, inferential and renarrative, none of which is completely developed. The aspects of Colognian conjugation include unitary-episodic, continuous, habitual-enduring, and gnomic. In Colognian, grammatical tense can be present tense, preterite tense or past tense, simple perfect or present perfect, past perfect tense, completed past perfect tense, simple future tense, or perfect future tense.

Neither nor indicate whether the verb form corresponds to the English simple present or progressive aspect. Translation needs a larger context to determine aspect. Following John Lyons (1982), Vladimir Žegarac notes, "The temptation to use the simple present is said to arise from the lack of progressive forms in Latin and French, and from a misinterpretation of the meaning of cogito as habitual or generic" (cf. gnomic aspect).

"End of Time" (story by Dale Schott, teleplay by Bob Ardiel) - Bastian arrives in Fantasia to see the world and all his friends slowly winding down into a world of suspended animation. (March 30, 1996) 19\. "Thunder and Lightning" (story by Erika Strobel, teleplay by Laurel L. Russwurm) - When the Gnomic Forest is experiencing a devastating drought, Engywook doubles his efforts to build a Rain-Making Machine. (April 6, 1996) 20\.

" Rajaji commented, "It is the gospel of love and a code of soul-luminous life. The whole of human aspiration is epitomized in this immortal book, a book for all ages." According to K. M. Munshi, "Thirukkural is a treatise par excellence on the art of living." The Indian nationalist and Yoga guru Sri Aurobindo stated, "Thirukkural is gnomic poetry, the greatest in planned conception and force of execution ever written in this kind.

Early religious and gnomic verse is also usually anonymous. Where possible examples of each poet's surviving work is presented at Welsh Poetry at Wikisource Each period of the poets listed below is accompanied by a graphical timeline to illustrate the main events and individuals that influenced the poets and their work. These timelines also depict the development of the Welsh language. Further details of its development may be found at Welsh language.

It has been transmitted in numerous manuscripts and also in a Latin translation ("Fridangi Discretio") and was quoted by contemporary authors, including Hugo von Trimberg and Rudolf von Ems. Manuscript editions gave way seamlessly to printed editions (Sebastian Brant, 1508). Some quotes have survived as proverbs still current in Modern German. The name of Freidank became a standard authority for wise sayings, and was often invoked as the author of gnomic sayings.

Signs of Life is a novel by M. John Harrison published in 1997. The dystopian narrative centers on Mick "China" Rose, a biomedical transportation entrepreneur, and his lover Isobel Avens's dream of flying. The novel was nominated for the British Science Fiction Award in 1997, and for the British Fantasy Award the following year. Mick "China" Rose starts up a medical courier service with associate Choe Ashton, who's given to erratic behavior and gnomic utterances.

Meanwhile, Harold and the prince duel with and defeat Drabbo, who has become Kaliko's chancellor. Rescuer and prince return to Oz amid general acclaim. Harold then prepares for his return home, whence Walter and Boann plan to follow in the wake of the banquet celebrating Oznev's deliverance. As for Ruggedo, when last seen he had expelled Kaliko from the Gnome Kingdom, declared monarchy obsolete, and proclaimed himself Lifetime President and Founding Father of the Gnomic Republic.

The place of the injunctive mood, of obscure function, is debated. It takes the form of the bare root in e-grade with secondary endings, without the prefixed augment that was common to forms with secondary endings in these languages. The injunctive was thus entirely without tense marking. This causes Fortson (among others) to suggest that the use of the injunctive was for gnomic expressions (as in Homer) or in otherwise timeless statements (as in Vedic).

A page from the [C] Abingdon II text of the Anglo-Saxon Chronicle. This entry is for 871, a year of battles between Wessex and the Vikings.[C] includes additional material from local annals at Abingdon, where it was composed. The section containing the Chronicle (folios 115–64) is preceded by King Alfred's Old English translation of Orosius's world history, followed by a menologium and some gnomic verses of the laws of the natural world and of humanity.

In his more personal book The Gospel of Thomas: A Guidebook for Spiritual Practice, Miller comments on many of the sayings of Jesus from the Gospel of Thomas. In interpreting these often gnomic sayings, he finds that a consistent - if post-rational - spiritual message is contained in them. Miller distinguishes sharply between traditional dogmatic Christians and the followers of the Jesus of the Gospel of Thomas. He calls followers of the spirituality that he envisions Thomas Christians.

Naumachius was a Greek gnomic poet. Of his poems, seventy-three hexameters (in three fragments) are preserved by Stobaeus in his Florilegium; they deal mainly with the duty of a good wife. From the remarks on celibacy and the allusion to a mystic marriage it has been conjectured that the author was a Christian. The fragments, translated anonymously into English under the title of Advice to the Fair Sex (1736), are in Gaisford's Poetae minores Graeci, iii (1823).

The book also includes important poems which were probably not composed by Taliesin, including the Armes Prydein (The Great Prophecy of Britain) and Preiddeu Annwfn, (The Spoils of Annwn), and the Book of Aneirin has preserved an early Welsh nursery rhyme, Pais Dinogad (Dinogad's Petticoat). Much of the nature poetry, gnomic poetry, prophetic poetry, and religious poetry in the Black Book of Carmarthen and the Red Book of Hergest is also believed to date from this period.

His first pieces as a writer were short stories published in Vienac 1885, reminiscent of the work of Ivan Turgenev. Forty or them were compiled in a collection Lišće ("Leaves", 1887). His stories were written with a penchant for concise, gnomic utterance and with a strong patriotic line, representing a role model of the genre in the Croatian literature. He reappeared as writer only in 1927, when Matica hrvatska published a book of his stories Od zore do mraka ("From dawn to dusk").

Bion left a reputation which has grown steadily both in Britain and internationally. Some commentators consider that his writings are often gnomic and irritating, but never fail to stimulate. He defies categorisation as a follower of Klein or of Freud. While Bion is most well known outside of the psychoanalytic community for his work on group dynamics, the psychoanalytic conversation that explores his work is mainly concerned with his theory of thinking, and his model of the development of a capacity for thought.

The rhetorical devices he most favoured were repetition (both in the forms of anaphora and epizeuxis), parallelism, antithesis, and the use of sententiae, or gnomic sayings. He had a rich vocabulary, could employ an almost epigrammatic irony, and, while conforming to the conventions of poetic art, gave an appearance of spontaneity to his verse. His style was neat, lively, and essentially simple. His poem is sometimes garrulous, but moderately so by medieval standards, and he avoids the other medieval vice of exaggeration.

The 1911 edition of the Encyclopædia Britannica says of him: "His style is full, easy and stately, without being very animated or splendid; it is content with level flights. As a gnomic writer Daniel approaches Chapman, but is more musical and coherent. He lacks fire and passion, but he has scholarly grace and tender, mournful reverie." Daniel has been suggested as a possible author of the anonymous play The Maid's Metamorphosis (1600), though no consensus on the argument has been achieved.

The poem is also considered by some to be a riddle poem. A riddle poem contains a lesson told in cultural context which would be understandable or relates to the reader, and was a very popular genre of poetry of the time period. Gnomic wisdom is also a characteristic of a riddle poem, and is present in the poem's closing sentiment (lines 52-53). Also, it cannot be ignored that contained within the Exeter Book are 92 other riddle poems.

"The Stranger at the Door" (1908) by W. G. Collingwood Hávamál ( ; Old Norse: Hávamál,Unnormalised spelling in the Codex Regius: Title: hava mal Final stanza: Nv ero Hava mál qveðin Háva hꜹllo i [...] classical pron. , Modern Icelandic pron. , ‘Words of Hávi [the High One]’) is presented as a single poem in the Codex Regius, a collection of Old Norse poems from the Viking age. The poem, itself a combination of numerous shorter poems, is largely gnomic, presenting advice for living, proper conduct and wisdom.

The name became established in the 19th century but is based on a linguistic mistake (a more correct term is Mabinogi). Welsh literature in the Middle Ages also included a substantial body of laws, genealogies, religious and mythical texts, histories, medical and gnomic lore, and practical works, in addition to literature translated from other languages such as Latin, Breton or French. Besides prose and longer poetry, the literature includes the distinctive Trioedd, Welsh Triads, short lists usually of three items, apparently used as aids to memory.

Walter Burkert featured Androcydes in his stemma of Pythagorean symbola,Walter Burkert, Lore and Science in Ancient Pythagoreanism, translated by Edwin L. Minar, Jr. (Cambridge University Press, 1972), pp. 166–173, as cited by Peter Struck, Birth of the Symbol (Princeton University Press, 2004), p. 98. consisting of gnomic utterances or maxims.Such as “Eat not in the chariot,” “Do not urinate against the sun,” and most famously “Abstain from beans”; see Kenneth Sylvan Guthrie, The Pythagorean Sourcebook and Library (Red Wheel/Weiser, 1987), p.

However, Jesus Christ, as both man and the Second Person of the Holy Trinity, possessed complete congruence of His two wills, the divine and the human. Therefore, St Maximus reasoned, Christ was never in a state of ignorance regarding what he wanted, and so never engaged in gnomic willing. Aristotle, a major philosophical influence on Maximus, in comparing the works of Nature with those of a human worker, had also declared that any process of deliberation, far from indicating superior intellect, is a sign of our weakness.

Stanzas 20-21 are again in the setting of the frame narrative, with Brynhild asking Sigurd to make a choice. They serve as introduction for the remaining part of the text, stanzas 22-37 (of which, however, only 22-28 and the first line of 29 are preserved in Codex Regius), which are gnomic in nature. Like Loddfafnismal, the text consists of numbered counsels, running from one to eleven. The "unnumbered" stanzas 25, 27, 30, 34 and 36 are considered interpolations by Bellows (1936).

The Hávamál is edited in 165 stanzas by Bellows (1936). Other editions give 164 stanzas, combining Bellow's stanzas 11 and 12, as the manuscript abbreviates the last two lines of stanzas 11. Some editors also combine Bellow's stanzas 163 and 164. In the following, Bellow's numeration is used. The poems in Hávamál is traditionally taken to consist of at least five independent parts, #the Gestaþáttr, or Hávamál proper, (stanzas 1–80), a collection of proverbs and gnomic wisdom #a dissertation on the faithlessness of women (stanzas 81–95), prefacing an account of the love-story of Odin and the daughter of Billingr (stanzas 96–102) and the story of how Odin got the mead of poetry from the maiden Gunnlöð (stanzas 103–110) #the Loddfáfnismál (stanzas 111–138), a collection of gnomic verses similar to the Gestaþáttr, addressed to a certain Loddfáfnir #the Rúnatal (stanzas 139–146), an account of how Odin won the runes, introductory to the Ljóðatal #the Ljóðatal (stanzas 147–165), a collection of charms Stanzas 6 and 27 are expanded beyond the standard four lines by an additional two lines of "commentary".

For example, la reĝunto is "the man who would be king"; a hakuta arbo is "a tree that would be chopped down" (if it weren't spiked, etc.). However, while these forms are readily recognized, they are uncommon. Similarly, a nonce active participle with gnomic tense has been created by analogy with existing pairs of noun and verb such as prezidento "president" and prezidi "to preside", and the resulting participles prezidanto "one who is (currently) presiding", etc. There is no passive equivalent apart from the inchoative suffix -iĝi mentioned above.

With the exception of the four women mentioned in stanza 70, the names of the dead belong to male heroes of Welsh legend (rather than history). They receive high praise for the virile strength and prowess they have shown in battle, such as Dehewaint, a "strong pillar of warriors". Although the dominant tone remains one of heroic celebration, the eulogies are also touched with a hint of sadness for the inevitability of death, as expressed in the gnomic statement that "each one's death comes at the fated time" (stanza 64).Jones, "Black Book," p. 101.

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).

Like all the Hebrew poets of the Hebrew Golden Age, he employed the formal patterns of Arabic poetry, both the classical monorhymed patterns and the recently invented strophic patterns. His themes embrace all those that were current among Hebrew poets: panegyric odes, funeral odes, poems on the pleasures of life, gnomic epigrams, and riddles. He was also a prolific author of religious verse. As with all the Hebrew poets of his age, he strives for a strictly biblical diction, though he unavoidably falls into occasional calques from Arabic.

Dukes spent about 20 years in England, and from his researches in the Bodleian library and the British Museum (which contain two of the most valuable Hebrew libraries in the world) Dukes was able to complete the work of Leopold Zunz. The most popular work of Dukes was his Rabbinische Blumenlese (1844), in which he collected the rabbinic proverbs and illustrated them from the gnomic literatures of other peoples. Dukes made many contributions to philology, but his best work was connected with the medieval Hebrew poetry, especially Ibn Gabirol.

This, however, does not last, seemingly as a consequence of prior difficulties concerning her marriage. The remainder of the narrative concerns her lamentable state in the present of the poem. She is commanded to dwell in a barrow within the earth (þes eorðsele), wherein she is compelled to mourn the loss of her lord and her present exile. The poem concludes with what begins as a gnomic exhortation admonishing youth to adopt a cheerful aspect, even in grief, but subsequently develops into an expression of the grief of the speaker's beloved.

Ignatz's plans to surreptitiously lob a brick at Krazy's head sometimes succeed; other times Officer Pupp outsmarts Ignatz and imprisons him. The interventions of Coconino County's other anthropomorphic animal residents, and even forces of nature, occasionally change the dynamic in unexpected ways. Other strips have Krazy's imbecilic or gnomic pronouncements irritating the mouse so much that he goes to seek out a brick in the final panel. Even self-referential humor is evident—in one strip, Officer Pupp, having arrested Ignatz, berates Herriman for not having finished drawing the jailhouse.

Some poems are gnomic in nature, which have attracted unrealistic attempts to read an ethical message, states Zvelebil. The poetry largely focuses on war, means of war such as horses, heroic deeds, widowhood, hardships, impermanence, and other effects of wars between kingdoms based along the rivers Kaveri, Periyar and Vaigai. The Purananuru is the most important Tamil corpus of Sangam era courtly poems, and it has been a source of information on the political and social history of ancient Tamil Nadu. According to Hart and Heifetz, the Purananuru provides a view of the Tamil society before large scale Indo-Aryan influences affected it.

"Vainglory" is the title given to an Old English gnomic or homiletic poem of eighty-four lines, preserved in the Exeter Book. The precise date of composition is unknown, but the fact of its preservation in a late tenth- century manuscript gives us an approximate terminus ante quem. The poem is structured around a comparison of two basic opposites of human conduct; on the one hand, the proud man, who “is the devil's child, enwreathed in flesh” (biþ feondes bearn / flæsce bifongen), and, on the other hand, the virtuous man, characterised as "God’s own son" (godes agen bearn).

Augmentation of the preterite marked the later relevance or significance of a past action, and as such often, but not always, corresponds to the perfect aspect. Additionally, augmenting a preterite verb in a subordinate clause indicates the completion of an action in that clause before the action indicated by another non- subordinated preterite phrase, slightly resembling a pluperfect. This sort of augmentation may also accompany another verb in the habitual or gnomic present to describe an action preceding another within an aphorism. Since augmentation can also express potentiality, it can be used instead of the general potential verb "can, to be able to".

Among the latter are to be found Cowley's most vital pieces. This section of his works opens with the famous aspiration: : "What shall I do to be for ever known, : And make the coming age my own?" It contains elegies on Wotton, Vandyck, Falkland, William Hervey and Crashaw, the last two being among Cowley's finest poems, brilliant, sonorous and original; the amusing ballad of The Chronicle, giving a fictitious catalogue of his supposed amours; various gnomic pieces; and some charming paraphrases from Anacreon. The Pindarique Odes contain weighty Lines and passages, buried in irregular and inharmonious masses of moral verbiage.

He left the Communist Party and reentered the Catholic Church. In the last years of his life he lived in reclusive poverty in the very heart of Prague on the island of Kampa. In the 1950s and 1960s he wrote longer poems mixing reality and lyrical abstraction. He is best known in English for his postwar works, both the often teasingly obscure longer poem Noc s Hamletem (A Night with Hamlet, 1964) which became the most often translated Czech poem,Jiří Rulf, Vladimír Holan and his short, gnomic lyrical reflections, with occasional submerged notes of political protest.

Jason Koxvold in Kabul, 2015 Jason Koxvold (born 1977 in Belgium) is a British artist and director based in New York City in the United States working in photography, interactive media and film. He is also the founder of Gnomic Book, an imprint focused on high quality artist books. Best known for his stark, graphical large-format photographs depicting the topology of globalisation, he works in 4x5" and 8x10" using Kodak film, with lenses by Schneider Kreuznach and Nikkor. He has worked in Europe, Asia, the Middle East, and the Americas, from China to Kuwait, Afghanistan to South Africa.

In Ancient Greek, the indicative aorist is one of the two main forms used in telling a story; it is used for undivided events, such as the individual steps in a continuous process (narrative aorist); it is also used for events that took place before the story itself (past-within-past). The aorist indicative is also used to express things that happen in general, without asserting a time (the "gnomic aorist"). It can also be used of present and futureHerbert Weir Smyth, Greek Grammar, sect. 1934, citing Euripides, Alcestis, 386 "I am destroyed (aorist indicative) if you will leave me".

In parallel to his music career, McGibbon maintained a keen interest in performing comedy and found regular work as a fake caller on Clive Bull's late-night LBC show, beginning in 1986. There, he developed the character of Ned Sherrin soundalike Rodway of Belgravia, a man trapped with his mother and in unrequited love with the girl at his local gardening shop. Shortly before Christmas 1987 he faked the murder of a turkey live on air, provoking several complaints. Another character was Eric the Gardener, a Wiltshireman inclined to speak in gnomic, poetic utterances and non-sequiturs.

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.

The unmarked verb form (as in run, feel) is the infinitive with the particle to omitted. It indicates nonpast tense with no modal implication. In an inherently stative verb such as feel, it can indicate present time (I feel well) or future in dependent clauses (I'll come tomorrow if I feel better). In an inherently non- stative verb such as run, the unmarked form can indicate gnomic or habitual situations (birds fly; I run every day) or scheduled futurity, often with a habitual reading (tomorrow I run the 100 meter race at 5:00; next month I run the 100 meter race every day).

Further, the poems provide references to figures from Norse paganism and Anglo-Saxon paganism, the latter included alongside Christian references. A list of rune names is also recorded in the Abecedarium Nordmannicum, a 9th- century manuscript, but whether this can be called a poem or not is a matter of some debate. The rune poems have been theorized as having been mnemonic devices that allowed the user to remember the order and names of each letter of the alphabet and may have been a catalog of important cultural information, memorably arranged; comparable with the Old English sayings, Gnomic poetry, and Old Norse poetry of wisdom and learning.Lapidge (2007:25–26).

The titles "Maxims I" (sometimes referred to as three separate poems, "Maxims I, A, B and C") and "Maxims II" refer to pieces of Old English gnomic poetry. The poem "Maxims I" can be found in the Exeter Book and "Maxims II" is located in a lesser known manuscript, London, British Library, Cotton Tiberius B i. "Maxims I" and "Maxims II" are classified as wisdom poetry, being both influenced by wisdom literature, such as the Psalms and Proverbs of the Old Testament scriptures. Although they are separate poems of diverse contents, they have been given a shared name because the themes throughout each poem are similar.

Archestratus ( Archestratos) was an ancient Greek poet of Gela or Syracuse, in Sicily, who wrote some time in the mid 4th century BCE, and was known as "the Daedalus of tasty dishes". His humorous didactic poem Hedypatheia ("Life of Luxury"),prospectbooks.co.uk written in hexameters but known only from quotations, advises a gastronomic reader on where to find the best food in the Mediterranean world. The writer, who was styled in antiquity the Hesiod or Theognis of gluttons, parodies the pithy style of older gnomic poets; most of his attention is given to fish, although some fragments refer to appetizers, and there was also a section on wine.

Regarding this, Griffith comments that "In a Christian context 'hanging in heaven' would refer to the crucifixion; but (remembering that Woden was mentioned a few lines previously) there is also a parallel, perhaps a better one, with Odin, as his crucifixion was associated with learning." The Old English gnomic poem Maxims I also mentions Odin by name in the (alliterative) phrase , ('Woden made idols'), in which he is contrasted with and denounced against the Christian God.North (1997:88). The Old English rune , which is described in the Old English rune poem The Old English rune poem recounts the Old English runic alphabet, the futhorc.

Bacchylides's Ode 5 includes, in addition to a brief reference to the victory itself, a long mythical episode on a related theme, and a gnomic or philosophical reflection – elements that occur also in Pindar's ode and that seem typical of the victory ode genre. Whereas however Pindar's ode focuses on the myth of Pelops and Tantalus and demonstrates a stern moral about the need for moderation in personal conduct (a reflection on Hieron's political excesses),Pindar, p. 1 Bacchylides's ode focuses on the myths of Meleager and Hercules, demonstrating the moral that nobody is fortunate or happy in all things (possibly a reflection on Hieron's chronic illness).

Pistol's florid bombast is often contrasted with the gnomic pronouncements of his colleague Corporal Nym. In Henry V he essentially replicates Falstaff's role in the Henry IV plays, being the butt of jokes for his empty bluster, while also parodying the rhetoric of the "noble" characters; however he totally lacked his superior officer's wit and charm. His role may have been expanded because Falstaff had been killed off. His antics with the French soldier are derived from those of the equivalent character (Derick) in Shakespeare's source, The Famous Victories of Henry V.Greer, Clayton A. "Shakespeare's Use of The Famous Victories of Henry V," Notes & Queries. n. s.

A 2014 study, using 3D scanning techniques, supported the initial "CI" reading rather than the backwards facing "D". There are references to March ap Meichion ("Mark") and Trystan in the Welsh Triads, in some of the gnomic poetry, the Mabinogion stories, and in the 11th-century hagiography of Illtud. A character called Drystan appears as one of King Arthur's advisers at the end of The Dream of Rhonabwy, an early 13th-century tale in the Welsh prose collection known as the Mabinogion. Iseult is listed along with other great men and women of Arthur's court in another, much earlier Mabinogion tale, Culhwch and Olwen.

To the gnomic core of the poem, other fragments and poems dealing with wisdom and proverbs accreted over time. A discussion of authorship or date for the individual parts would be futile, since almost every line or stanza could have been added, altered or removed at will at any time before the poem was written down in the 13th century. Individual verses or stanzas nevertheless certainly date to as early as the 10th, or even the 9th century. Thus, the line deyr fé, deyja frændr ("cattle die, kinsmen die") found in verses 76 and 77 of the Gestaþáttr can be shown to date to the 10th century, as it also occurs in the Hákonarmál by Eyvindr skáldaspillir.

The poem gradually reveals itself as a monologue by a person who is ill, probably with leprosy, as he laments his exile from society and the ruin of his homestead. It is characterised by the use of the natural world as a frame and reference point for human emotion, shifts of focus from the speaker's observations on his particular situation and gnomic observations on life in general, and jumps from one subject to another producing tantalising juxtapositions. The poem has frequently been compared (and contrasted) with the roughly contemporaneous Old English poems The Wanderer and The Seafarer.Jenny Rowland, Early Welsh Saga Poetry: A Study and Edition of the 'Englynion’ (Cambridge: Brewer, 1990), p. 190-228.

"Why Craigslist Is Such A Mess", Wired URL accessed on July 27, 2012 Buckmaster has been described by Martin Sorrell as a "socialistic anarchist"Terazono, Emiko. [www.ft.com/intl/cms/s/2/89c1df20-008c-11db-8078-0000779e2340.html "Sorrell warns of e-communities ‘threat’"],Financial Times URL accessed on July 27, 2012 and was once denounced on Fox News by Reverend Jerry Falwell. Buckmaster wrote a series of haiku that appear in lieu of error messages on craigslist: ""The little poems he has written appear on the screen at times when users might expect a helpful message from the staff. They function as a gnomic clue that what you are seeing is intentional, while discouraging further conversation or inquiry.

The proverbs have their roots in gnomic poetry, and show a relationship in some places to the Disticha Catonis and other works of the surviving Anglo-Saxon corpus. The Old English versions are sometimes (but not always) alliterative, or in verse form, and employ the same formulae with "sceal" and "byþ" as other works do. However, they have a distinctive flavour of their own, one outstanding characteristic of which is the humorous expression that they embody (as in number 11, for example) -- a quality that is lacking in the gnomes. A yet more distinctive feature is how often the proverbs echo the verse of other works, such as the echo of The Wanderer in number 23.

Present tense is used, in principle, to refer to circumstances that exist at the present time (or over a period that includes the present time) and general truths (see gnomic aspect). However the same forms are quite often also used to refer to future circumstances, as in "He's coming tomorrow" (hence this tense is sometimes referred to as present-future or nonpast). For certain grammatical contexts where the present tense is the standard way to refer to the future, see conditional sentences and dependent clauses below. It is also possible for the present tense to be used when referring to no particular real time (as when telling a story), or when recounting past events (the historical present, particularly common in headline language).

The largest book of the Tirukkural on display With a highly compressed prosodic form, the Kural text employs the intricately complex Kural venba metre, known for its eminent suitability to gnomic poetry. This form, which Zvelebil calls "a marvel of brevity and condensation," is closely connected with the structural properties of the Tamil language and has historically presented extreme difficulties to its translators. Talking about translating the Kural into other languages, Herbert Arthur Popley observes, "it is impossible in any translation to do justice to the beauty and force of the original." Zvelebil claims that it is impossible to truly appreciate the maxims found in the Kural couplets through a translation but rather that the Kural has to be read and understood in its original Tamil form.

Baudhayana Dharmasūtra, completed by about 7th century BC, states the following behavioral vows for a person in Sannyasa,Max Muller (Translator), Baudhayana Dharmasūtra Prasna II, Adhyaya 10, Kandika 18, The Sacred Books of the East, Vol. XIV, Oxford University Press, pages 279–281 Baudhāyana also makes repeated references to the Sannyasa (ascetic) stage and its behavioral focus, such as in verses II.13.7 and 11.18.13. This reference, Olivelle states, is found in many early to mid 1st millennium BC texts, and is clearly from gnomic poetry about an established ascetic tradition by the time Baudhayana Dharmasutra and other texts were written. Katha Upanishad, in hymns 2.1–2.2 contrasts the human feeling of pleasant (preyas, प्रेयस्) with that of bliss (sreyas, श्रेयस्), praising the latter.

Written in a gnomic, seemingly obscure style, the poems and the play Paid on Both Sides included with them, were extraordinarily influential. The compression of their style, their presentation of a personality "frustrate and vexed" that could be seen as a metaphor for the zeitgeist of a country—plainly England, struck a wholly new, modernist note. Not allusive like Eliot's The Waste Land (1922), the numbered poems in the volume, as well as the play, were as difficult and rich as that work but, unlike it, seemed to come from a person speaking in a private but significant code. The impression derives from the density of rhetorical device, but some of it also comes from the author's stoic, detached attitude toward his own intense emotional life.

While he has claimed to stand by a revolutionary Marxist project, his lack of vision concerning the possible circumstances which could lead to successful revolution makes it unclear what that project consists of. According to John Gray and John Holbo, his theoretical argument often lacks grounding in historical fact, which makes him more provocative than insightful. Roger Scruton has written in "Fools, Frauds and Firebrands: Thinkers of the New Left", "To summarize Žižek's position is not easy: he slips between philosophical and psychoanalytical ways of arguing, and is spell-bound by Lacan's gnomic utterances. He is a lover of paradox, and believes strongly in what Hegel called 'the labour of the negative' though taking the idea, as always, one stage further towards the brick wall of paradox".

It's all cool, brittle catchiness, with a debt owed to Eat to the Beat-era Blondie". Emily Mackay of NME wrote that "It's Blitz!s heartfelt love letter to the transcendent possibilities of the dancefloor is an unexpectedly emphatic reassertion of why Yeah Yeah Yeahs are one of the most exciting bands of this decade", while Spins Charles Aaron said that it is "the alternative pop album of the decade—one that imbues The Killers' Hot Fuss and MGMT's Oracular Spectacular with a remarkable emotional depth and finesse". Theon Weber of The Village Voice said that Karen O "isn't revealed to us through the record's lyrics, which are as gnomic as ever, but through attitudes, tones, put-on sneers, and audible grins.

Interpreting the text of the poem as a woman's lament, many of the text's central controversies bear a similarity to those around Wulf and Eadwacer. Although it is unclear whether the protagonist's tribulations proceed from relationships with multiple lovers or a single man, Stanley B. Greenfield, in his paper "The Wife's Lament Reconsidered," discredits the claim that the poem involves multiple lovers. He suggests that lines 42-47 use an optative voice as a curse against the husband, not a second lover. The impersonal expressions with which the poem concludes, according to Greenfield, do not represent gnomic wisdom or even a curse upon young men in general; rather this impersonal voice is used to convey the complex emotions of the wife toward her husband.

Modern researchers continue to use information from the ancient Shiben. For instance, Chinese zupu "genealogy books" cite information from its elaborate genealogies of the ruling houses and the origins of clan names. The early history of science and technology in China regularly cites Shiben records about names of the legendary, semi-legendary, and historical inventors of all kinds of devices, instruments, and machines. The textual entries for naming inventors are mostly gnomic 4-character lines, for instance (Needham and Wang 1954: 51), Bo Yi zuojing 伯益作井 "Bo Yi invented well(-digging)" [to help control the Great Flood]; Hu Cao zuoyi 胡曹作衣 "Hu Cao invented clothing"; and Li Shou zuoshu 隸首作數 "Li Shou invented computations".

Glitter Fairies: a sub-breed of Woodland Fairy, these are the descendants of lesser fairy nobility and those fairy sorcerers who survived the downfall of fairy civilisation. In the game, these are weaker than normal Woodland Fairies but make up for by being able to use the Nasty (battle/offensive) and Nice (healing/defensive) branches of fairy magic. Gnomes: After abandoning life alongside ancient humans and going underground to prepare for world domination, the gnomic races eventually fell to infighting, which resulted in the annihilation of all races bar two; the science-loving gnomes and the drunken, undead leprechauns. Gnomes have lost all of their former magical powers, but in return have developed incredible technological skill, including bionic body parts, chemical weapons and rocket launchers.

See article in German by K. Steif on the Wechel family publishing enterprise, in Allgemeine Deutsche Bibliographie, at German Wikisource. To his Frankfurt period belong the editions of Pausanias, Herodotus, Dionysius Halicarnassensis (one of his best pieces of work, highly praised by Carsten Niebuhr), Aristotle, the Greek and Latin sources for the history of the Roman emperors and the Peri syntaxeos of Apollonius Dyscolus. In 1591 he moved to Heidelberg, where he became librarian to the elector palatine. The Wechel series was continued by Hieronymus Commelinus (Jerome Commelin) of Heidelberg,See article in German by Ernst Kelchner on Jerome Commelin in Allgemeine Deutsche Biographie at German Wikisource for whom Sylburg edited Clement of Alexandria, Justin Martyr, the Etymologicum magnum, the Scriptores de re rustica, the Greek gnomic poets, Xenophon, Nonnus and other works.

Although his music from this period exhibits some novel features, it owes more to traditional techniques than to the more experimental areas of the avant-garde.James L. McHard, The Future of Modern Music: A Philosophical Exploration of Modernist Music in the 20th Century and Beyond, third edition (Livonia, MI: Iconic Press, 2008): 325. ; Richard W. Bass, “The Case of the Silent G: Pitch Structure and Proportions in the Theme of George Crumb’s Gnomic Variations”, in George Crumb and the Alchemy of Sound: Essays on His Music, edited by Steven Bruns and Ofer Ben-Amots, general editor Michael D. Grace, 157–70 (Colorado College Music Press, 2005). . In this period, Crumb shared with a number of other young composers regarded as being under the umbrella of "new accessibility" a desire to reach out to alienated audiences.

The Hávamál ("Sayings of the High One"), a 13th century Icelandic compilation poetically attributed to the god Odin, includes two sections - the Gestaþáttr and the Loddfáfnismál - offering many gnomic proverbs expressing the memento mori philosophy, most famously Gestaþáttr number 77: :Deyr fé, :deyja frændur, :deyr sjálfur ið sama; :ek veit einn at aldri deyr, :dómr um dauðan hvern. ::Animals die, ::friends die, ::and thyself, too, shall die; ::but one thing I know that never dies ::the tales of the one who died. The thought was then utilized in Christianity, whose strong emphasis on divine judgment, heaven, hell, and the salvation of the soul brought death to the forefront of consciousness.Christian Dogmatics, Volume 2 (Carl E. Braaten, Robert W. Jenson), page 583 All memento mori works are products of Christian art.

After the Second World War he became a civil servant in the Belgian Ministry of the Interior, a job he kept for the rest of his life. Scutenaire grew disillusioned with the increasing commercialisation of Surrealism after the Second World War, but this did not apparently impair his close friendship with the most famous Belgian surrealist René Magritte. Scutenaire and his wife would visit the Magritte home on Sundays, where Scutenaire would be invited to give titles to Magritte's recent paintings; 170 of the paintings still bear the titles that Scutenaire suggested. (He is also the model for the figure in Magritte's canvas Universal Gravitation.) Scutenaire's published works include a series of books entitled Mes Inscriptions, collections of gnomic and mischievous aphorisms, as well as one of the earliest and most entertaining monographs on Magritte.

Long ago, fairies were peaceful, mischievous, happy-go-lucky creatures who spent most of their time dancing, playing, singing, and eating honey and fruit. That all changed when a foolish fairy by the name of Merryzot decided to try eating the meat of a dead mouse. The never-before-tasted substance proved addictive, and soon all fairies, being as amoral as they are adventurous, were carving up all manner of flesh to discover the best tasting. Eventually it was discovered that the best-tasting meat of all was the meat of the fairy, and their society was plunged into chaos as they devoured one another, with the old fairy nobility fleeing to the Moon and the Gnomic races (gnomes, leprechauns etc.) vanishing underground, acts that would come back to haunt the Woodland Fairies later.

He refers to these as "graph theoretic poems" since they are generated using graph theory, where "graph" refers to mathematical values that relate words to each other in a semantic web. He has posted in the thesaurus section of his online dictionary the values used in these algorithms. Genres produced include the following: acrostic, butterfly, cinquain, diamante, ekphrastic, fib or Fibonacci poetry, gnomic poetry, haiku, Kural, limerick, mirror cinquain, nonet, octosyllable, pi, quinzaine, Rondelet, sonnet, tanka, unitoum, waka, simple verse, and xenia epigram. Genres were created by Parker to allow one genre of poem for each letter of the English alphabet, including Yoda, for Y (poetry using the grammar structure of the famous Star Wars character), and Zedd for Z (poems shaped like the letter Z). His poems are didactic in nature, and either define the entry word in question, or highlight its antonyms.

Revolutions of the Night was a return to a lighter prose style, and in places its short, gnomic utterances recall his work in Celebrations. Again the title is taken from a Max Ernst painting, and the focus is a wealthy, middle-class family in which one member, on this occasion the mother, dies early on, and the remainder of the novel is focussed on the fallout from her death. The novel consists of a series of set pieces, most of which concern the incestuous relationship between the two children of the family, Hazel and Max, a relationship which seems to shield them from the institutions of the state that they encounter. Midway through the novel a war, or revolution, appears to begin, Max is imprisoned and then released, and the novel ends, in scenes that are reminiscent of the ending of Europe After the Rain, the two siblings escape the country and live together.

These two poets can be said to represent the birth of two major American poetic idioms--the free metric and direct emotional expression of Whitman, and the gnomic obscurity and irony of Dickinson--both of which would profoundly stamp the American poetry of the 20th century. The development of these idioms, as well as conservative reactions against them, can be traced through the works of poets such as Edwin Arlington Robinson (1869–1935), Stephen Crane (1871–1900), Robert Frost (1874–1963) and Carl Sandburg (1878–1967). Frost, in particular, is a commanding figure, who aligned strict poetic meter, particularly blank verse and terser lyrical forms, with a "vurry Amur'k'n" (as Pound put it) idiom. He successfully revitalized a rural tradition with many English antecedents from his beloved Golden Treasury and produced an oeuvre of major importance, rivaling or even excelling in achievement that of the key modernists and making him, within the full sweep of traditional modern English-language verse, a peer of Hardy and Yeats.

About Popular Unrest, a feature-length film released online and touring as an exhibition by Gilligan, the critic Aileen Burns says, "Like her TV counterparts, Gilligan uses professional actors and mixes taping strategies to yield documentary-styled fiction, and divides her gory, fast-paced narrative into a series of episodes that builds toward a surprise finish." Art critic Dan Fox said about Gilligan's 2008 production Crisis in the Credit System that "[the] film takes as its starting point a brainstorming workshop run by an investment bank. The characters are asked to take part in a role-playing game, which develops from the familiar (hedge-fund managers spinning profit from the misfortune of others) through to the surreal (a financial analyst is put under hypnosis in order to forecast stock market activity, and ends up delivering gnomic utterances on the state of the markets)." Self-Capital, Gilligan's 2009 single screen film, was shot at the Institute for Contemporary Art in London, starring an actress playing four roles: therapist and patient, customer and cashier.

James Sallis (born December 21, 1944 in Helena, Arkansas, United States) is an American crime writer, poet, critic, musicologist and musician, best known for his series of novels featuring the detective character Lew Griffin and set in New Orleans, and for his 2005 novel Drive, which was adapted into a 2011 film of the same name. Sallis began writing science fiction for magazines in the late 1960s. Having sold several stories to Damon Knight for his Orbit series of anthologies, and a story to Michael Moorcock by the time he was in his mid- twenties, Sallis was then invited to go to London to help edit New Worlds just as it changed to its large format during its Michael Moorcock-directed New Wave SF phase; Sallis published his first sf story, "Kazoo" there in 1967 and was co-editor from April 1968 through Feb 1969. His clearly acknowledged models in the French avant-garde and the gnomic brevity of much of his work limited his appeal in the science fiction world, though he received some critical acclaim for A Few Last Words (collection, 1970).