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"What was good enough for my father is good enough for me," retorted Belcovitch. "The Shool he took me to at home had a beautiful Chazan, and he always sang it 'Ei, Ei, Ei." "I don't care what you heard at home. In England every Chazan sings 'Oi, Oi, Oi." "We can't take our tune from England," said Karlkammer reprovingly.

The eyes opened,—for one instant a smile. “Ei, Themistocles, it is you?” to be succeeded by a flash of unspeakable horror. “O Zeus, the gyves! That I should come to this!” The prisoner rose to a sitting posture upon his truss of straw. His fettered hands seized his head. “Peace,” ordered the admiral, gently. “Do not rave. I have sent the sentries away. No one will hear us.”

I have told you over and over again you confound the air of the Passover Yigdal with the New Year ditto. "Oh no," interrupted Belcovitch. "All the Chazanim I've ever heard do it 'Ei, Ei, Ei." "You are not entitled to speak on this subject, Belcovitch," said the Shalotten Shammos warmly. "You are a Man-of-the-Earth. I have heard every great Chazan in Europe."

It would have been against the general rule of Scripture prophecies, and the intention of the revelation in Christ, that the first Christians should have been so influenced in their measures and particular actions, as they could not but have been by a particular foreknowledge of the express and precise time at which Jerusalem was to be destroyed. To reconcile them to this uncertainty, our Lord first teaches them to consider this destruction the close of one great epoch, or [Greek: aiôn], as the type of the final close of the whole world of time, that is, of all temporal things; and then reasons with them thus: "Wonder not that I should leave you ignorant of the former, when even the highest order of heavenly intelligences know not the latter, [Greek: oud' ho uhíos, ei m

Phœnix ceased weeping and thrust his red fists in his father’s face. “Ei, pretty snail,” said Glaucon, pressing him fast by one hand, whilst he held his mother by the other, “if I say you are a merry wight, the nurse will not marvel any more.” But Hermione had already heard from Niobe of the adventure in the market-place at Trœzene.

Greek poetry gives few instances. The art of Homer has long passed the stage at which such an aid to effect is sought for. The cadence of the Greek hexameter would be marred by so inartistic a device. The dramatists resort to it now and then, e.g. Oedipus, in his blind rage, thus taunts Tiresias: tuphlos ta t' ota ton te noun ta t' ommat' ei.

I will kneel down'; and he flung himself on the ground, and placed his ear close to my mouth. 'Now speak if you can. Hey! what! no, sure, God forbid! then starting up, he cried to a female who sat in the cart, anxiously looking on 'Gwenwyn! gwenwyn! yw y gwas wedi ei gwenwynaw. The oil! Winifred, the oil!

Tairi hia'tura te rauti i te hiti o te umu raparau faahou, atura te tahua. Te Vahine tahura'i e po'ia te tu'u raa ia o te avae iroto i te umu, ei reira toa te mau taata i hinaaro i te haere na roto i te umu ra e haere.

Ei! ei! from the hour he was here you are no longer the same as formerly; that springs from the magical word he whispered in your ear. You cannot pronounce the word, he told me; but by it you have been enchanted: this, and not book-learning, has worked the change. But you shall be delivered!

It is perhaps hardly surprising to find Tasso's 'S' ei piace, ei lice' quoted by English writers as summing up the cynical philosophy of those whom they not unaptly styled 'politicians. In Marston's tragedy on the story of Sophonisba, for instance, the villain Syphax concludes a 'Machiavellian' speech with the words: For we hold firm, that 's lawful which doth please.