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They tell me it's Latin, and it means that the men o' this fort give thanks to God for their safety." They examined the old worn stone. There was a large deeply-cut "VV" upon the top of it. "What does 'VV' stand for?" asked Brown. "Naebody kens," the guide answered. "Valeria Victrix," said the lady softly.
"If that's your vision of me, you shouldn't have chewed up the VV mask." "I'd really prefer you with green stripes," he told her. "But stripes, spots, or sun-bathing, you're better than those cocktail moles." Actually both of them acutely disliked going below.
Luther has particular reference to the Elector's high rank. But it divides Ps. 147 into two; vv. 1-11 being counted as Ps. 146, and vv. 12-20 as Ps. 147; and so both versions agree again from Ps. 148 to 150. Luther harks back to his discussion of this point in the Preface, p. 113. Particular reference to the Elector. See pp. 147 ff. Cypr. de mortal. c. Vulgate reading. See pp. 149 f.
The Lamb sacrificed from the beginning of the world, the God-Man, the Judge, the self-promised Redeemer to Adam in the garden! Thou smotest the heads of the Leviathan in pieces; and gavest him to be meat for the people in the wilderness. Does this allude to any real tradition? The Psalms appears to have been composed shortly before the captivity of Judah. Ps. LXXXII. vv. 6-7.
For "smite in sunder, or wound the heads;" some word answering to the Latin conquassare. For "therefore," translate "then shall he lift up his head again;" that is, as a man languid and sinking from thirst and fatigue after refreshment. N.B. I see no poetic discrepancy between vv. 1 and 5. Ps. To be interpreted of Christ's Church. Ps. As the rivers in the south.
G. Tarde, "L'Amour Morbide," Archives de l'Anthropologie Criminelle, 1890, p. 585. Lucretius, Lib. IV, vv. 1150-1163. Burton, Anatomy of Melancholy, Part III, Section II, Mem. III, Subs. Judith Cladel, Auguste Rodin Pris sur la Vie, 1903, pp. 103-104. Some slight modifications have been made in the translation of this passage on account of the conversational form of the original.
Particularly to be noticed, however, is the parapet on which the fingers of one hand are visible, and the mysterious letters VV. Allusion has already been made to the growing practice in Venetian art of introducing the hand as a significant feature in portrait painting, and here we get the earliest indications of this tendency in Giorgione; for this portrait certainly ante-dates the "Knight of Malta."
The same passages, in Florio's rendering, will be found in Mr. I have claimed Montaigne as the great-grandson of a Spanish Jew on the authority of Mr. The full title of Mr. Mr. F.M. Nichols' edition of the "Letters of Erasmus" is the source of the quotation of one of that worthy's letters. The final quotation comes from the Wisdom of Solomon, ch. vi. v. 12; ch. viii. vv. 2, 16; and ch. ix. v. 4.
These affections mark themselves in the countenance, nothing is more certain; and when they grow into habits, they must leave durable impressions upon it." Author's Preface, x. See an excellent page in M. Joret's Herder, 322. See above, vol. ii. p. 191. E.g. pp. 8, 198, 204, 205. E.g. Bk. I. § 5, p. 279. § 6, p. 406, 419, etc. Vv. 670-703.
Wherefore it cannot exist in those who live according to the flesh, who are delighted by their own lusts and obey them. Accordingly, Paul says, Rom. 8, 1: There is, therefore, now no condemnation to them that are in Christ Jesus, who walk not after the flesh, but after the Spirit. So, too, vv. 12. 13: We are debtors, not to the flesh, to live after the flesh.
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