Everything is made subordinate to the overmastering dictates of war.
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Sometimes she felt the overmastering desire to strangle her with kisses.
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What impulse, what stimulant, what overmastering, driving necessity had they compared with his?
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When, therefore, as his fortunes were at their lowest, he came upon the blank cheque it presented an overmastering temptation.
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They know that the overmastering intentions of the cosmos cannot be undone, but believe that down the line events can be tweaked.
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The reporters had at first been rather peevish at having been asked to risk their skins for old manuscripts, but they ended by being impressed by the scholar's overmastering enthusiasm.
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Passion and desire go hand in hand, especially as a motivation. Linstead & Brewis refer to Merriam-Webster to say that passion is an "intense, driving, or overmastering feeling or conviction". This suggests that passion is a very intense emotion, but can be positive or negative. Negatively, it may be unpleasant at times.
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After being at the number 2 position for four weeks, the single dropped to number 4 in the chart to stay here for another four weeks. In its ninth week, it jumped up one place up to number 3, overmastering Cauet's "Zidane y va marquer", which dropped to number 4. In its tenth and eleventh week, it remained on the number 4 position again. After many weeks at number four, the single finally stepped out of the top 5 and went to number 6.
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The philologist Elizabeth Solopova suggests that the character of Fëanor was inspired by Byrhtnoth from the Anglo-Saxon poem "The Battle of Maldon" who is slain in battle. Tolkien has described Byrhtnoth as misled by "pride and misplaced chivalry proven fatal" and as "too foolish to be heroic",The Tolkien Reader, p. 4, 22 and Fëanor is driven by "overmastering pride" that causes his own death and that of countless followers. Heraldic device of Fëanor Fëanor is among those major characters whom Tolkien, who also used to illustrate his writings, supplied with a distinct heraldic device.
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At Speyer, Conrad III of Germany and his nephew, later Holy Roman Emperor Frederick Barbarossa, received the cross from the hand of Bernard. Pope Eugene came in person to France to encourage the enterprise. For all his overmastering zeal, Bernard was by nature neither a bigot nor a persecutor. As in the First Crusade, the preaching inadvertently led to attacks on Jews; a fanatical French monk named Rudolf was apparently inspiring massacres of Jews in the Rhineland, Cologne, Mainz, Worms and Speyer, with Rudolf claiming Jews were not contributing financially to the rescue of the Holy Land.
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Late in the 1870s, Lorenz Adlon enthusiastically moved to Berlin, which was so attractive as the magnificent new capital of the Second Reich. Once there, Adlon began in the business of selling wines. It became so successful, that Adlon's shop of the Wilhelmstrasse would store three million bottles at some point; the value of the investment skyrocketed after a vine pest of the late 1910s, and -in general- also overmastering the German inflation. Meanwhile, Lorenz Adlon kept managing the catering for international events, in 1881 for the festival of gymnastics of Frankfurt (Deutschen Turnfest), in 1882 for the Bavarian Trade exhibition, in 1883 for Amsterdam's World's Fair.
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The full text has not survived, but a contemporary account says that "his voice rang out across the meadow like a celestial organ" When Bernard was finished the crowd enlisted en masse; they supposedly ran out of cloth to make crosses. Bernard is said to have flung off his own robe and began tearing it into strips to make more. Others followed his example and he and his helpers were supposedly still producing crosses as night fell. alt=Stained glass image of a kneeling man with a halo holding an open book and a staff For all his overmastering zeal, Bernard was by nature neither a bigot nor a persecutor.
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In June 1325, at the age of twenty-one, Ibn Battuta set off from his hometown on a hajj, or pilgrimage, to Mecca, a journey that would ordinarily take sixteen months. He would not see Morocco again for twenty-four years. > I set out alone, having neither fellow-traveller in whose companionship I > might find cheer, nor caravan whose part I might join, but swayed by an > overmastering impulse within me and a desire long-cherished in my bosom to > visit these illustrious sanctuaries. So I braced my resolution to quit my > dear ones, female and male, and forsook my home as birds forsake their > nests.
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Allusions to The Island of Doctor Moreau, authored by H. G. Wells (pictured), have been perceived in the episode. In her 2011 book Into the Looking Glass: Exploring the Worlds of Fringe, author Sarah Clarke Stuart observed that two unrelated Fringe characters, Conrad Moreau of "The Transformation" and Moreau (Brad Dourif) of "The Day We Died", are allusions to H. G. Wells' 1896 novel The Island of Doctor Moreau. Both are "scientifically inspired men with questionable integrity," while Wells' Doctor Moreau is an "unethical researcher" who fell "under the overmastering spell of research," in a vein similar to Walter. Like the pilot episode, "The Transformation" begins on the passenger section of an airplane in flight.
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Taking a more nuanced approach, Mary R. Bowman claims that Tolkien "rehabilitated" the northern heroic spirit, instead of simply "rejecting" it (92). She recalls Tolkien's own metaphor of the northern heroic spirit as an impure "alloy", composed of a combination of a self-sacrificing bravery for the good of others (the gold) and a selfish, reckless pursuit for wealth and fame (the base metal). Bowman's point, then, is that Tolkien was concerned with "refining" the heroic code—with separating and burning away the selfish, destructive slag of "overmastering" and excessive pride, while retaining the gold of courage. Scholars have also discussed the influence of "Homecoming" on Tolkien's fictional world of Middle-earth.
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Morris argues that Glück's poems, which often adopt contradictory points of view, reflect "her own ambivalent relationship to status, power, morality, gender, and, most of all, language". The author Robert Boyer has characterized Glück's ambivalence as a result of "strenuous self-interrogation". He argues that "Glück's poems at their best have always moved between recoil and affirmation, sensuous immediacy and reflection … for a poet who can often seem earthbound and defiantly unillusioned, she has been powerfully responsive to the lure of the daily miracle and the sudden upsurge of overmastering emotion". The tension between competing desires in Glück's work manifests both in her assumption of different personas from poem to poem and in her varied approach to each collection of her poems.
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