"Falling in love In romantic relationships, falling in love is the concept of moving from a feeling of neutrality towards a person to one of love, except in cases of love at first sight where there is an instant and long-lasting bond. The use of the term ""falling in love "" comes from a common metaphor that equates becoming in love with the act of falling. The metaphor appears to emphasize that the process is in some way uncontrollable and risky—as in the phrases ""to fall ill"" or ""to fall into a trap""—and that it leaves the lover in a"
"David and William of Orange as merciful and just leaders who both serve under tyrannic kings. As the merciful David defeats the unjust Saul and is rewarded by God with the kingdom of Israel, so too, with the help of God, will William be rewarded a kingdom; being either or both the Netherlands, and the kingdom of God. Chiasmus In rhetoric, chiasmus or, less commonly, chiasm (Latin term from Greek χίασμα, ""crossing"", from the Greek χιάζω, ""chiázō"", ""to shape like the letter Χ"") is a ""reversal of grammatical structures in successive phrases or clauses – but no repetition of words""."
"Chiasmus In rhetoric, chiasmus or, less commonly, chiasm (Latin term from Greek χίασμα, ""crossing"", from the Greek χιάζω, ""chiázō"", ""to shape like the letter Χ"") is a ""reversal of grammatical structures in successive phrases or clauses – but no repetition of words"". Chiasmus should not be confused with a subtype of this scheme, antimetabole, which also involves a reversal of grammatical structures in successive phrases or clauses, but unlike chiasmus, presents a repetition of words in an A-B-B-A configuration. ""Chiasmus"" balances words or phrases with similar, though not identical, meanings: ""But O, what damned minutes tells he o'er"" ""Who ""dotes"","
"three persons of the Godhead long before New Testament times ... even though none of these concepts or terms ever appear in these forms in the Old Testament or any other ancient Jewish literature."" Chiasmus is a form of rhetorical parallelism wherein key ideas familiar to the reader are inverted, usually for some kind of emphasis. Chiasmus appears in many languages, including English, Ugaritic, Biblical Hebrew, Aramaic, Greek, and Latin. It is found in the Bible and other ancient Middle Eastern poetry Examples of chiasmus can be found in the Book of Mormon. Some have argued chiasmus is evidence of"
"Karpos, of Zephyrus (the West Wind) and Chloris (Spring). When Karpos drowned in a swimming race, Kalamos also drowned and was transformed into a reed, whose rustling in the wind was interpreted as a sigh of lamentation. The plant was a favorite of Henry David Thoreau (who called it ""sweet flag""), and also of Walt Whitman, who added a section called the ""Calamus"" poems, to the third edition of ""Leaves of Grass"" (1860). In the poems the calamus is used as a symbol of love, lust, and affection. Lewis Carroll uses the plant in ""Through the Looking-Glass"" as a symbol"
"yet ""doubts""; ""suspects"", yet ""strongly loves""."" —Shakespeare, Othello 3.3 ""Dotes"" and ""strongly loves"" share the same meaning and bracket ""doubts"" and ""suspects"". Additional examples of ""chiasmus"": ""By day the frolic, and the dance by night."" — Samuel Johnson, ""The Vanity of Human Wishes"" (1794) ""Despised, if ugly; if she's fair, betrayed."" — Mary Leapor, ""Essay on Woman"" (1751) For comparison, the following is considered ""antimetabole"", in which the reversal in structure involves the same words: ""Pleasure's a sin, and sometimes sin's a pleasure."" — Lord Byron, in ""Don Juan"", (1824) Here is the structure of ""antimetabole"" presented in table form:"
"The experience of the lovers and that of Bottom (as expressed in his awakening speech) teach them ""a new humility, a healthy sense of folly"". They realise that there are things that are true despite the fact that they can not be seen or understood. They just learned a lesson of faith. Hassel also thought that Theseus' speech on the lunatic, the lover, and the poet is an applause to imagination. But it is also a laughing rejection of futile attempts to perceive, categorise, or express it. Some of the interpretations of the play have been based on psychology and"
"the Venerable Bede celebrated the symbolic significance of the statue in a prophecy that is variously quoted: ""Quamdiu stat Colisæus, stat et Roma; quando cadet colisæus, cadet et Roma; quando cadet Roma, cadet et mundus"" (""as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world""). This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem ""Childe Harold's Pilgrimage""). However, at the time that the Pseudo-Bede wrote, the masculine noun ""coliseus"" was applied to the statue rather than to"
"""Fair is foul, and foul is fair"" — Shakespeare, ""Macbeth"" 1. Both chiasmus and antimetabole can be used to reinforce antithesis. In chiasmus, the clauses display inverted parallelism. Chiasmus was particularly popular in the literature of the ancient world, including Hebrew, Greek, and Latin, where it was used to articulate the balance of order within the text. For example, many long and complex chiasmi have been found in Shakespeare and the Greek and Hebrew texts of the Bible. It is also found throughout the Book of Mormon and the Quran. Chiasmus can be used in the structure of entire passages"
"epigram celebrating the symbolic significance of the statue, ""Quandiu stabit coliseus, stabit et Roma; quando cadit coliseus, cadet et Roma; quando cadet Roma, cadet et mundus"" (""as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world""). This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem ""Childe Harold's Pilgrimage""). However, at the time that Bede wrote, the masculine noun ""coliseus"" was applied to the statue rather than to what was still known as the Flavian Amphitheatre. Colossus of"
"of defending freedom in its hour of maximum danger,"" a simple twist of words that challenges the American public rather than frightening them. It was also in his inaugural address that John F. Kennedy spoke his famous words, ""ask not what your country can do for you, ask what you can do for your country."" This use of chiasmus can be seen even as a thesis statement of his speech – a call to action for the public to do what is right for the greater good. (This appears to be an elegant rephrasing of Franklin D. Roosevelt's acceptance speech"
"argument or idea for the listener to consider, and then leads the listener to favor one side of the argument. In former President John F. Kennedy's famous quote, ""ask not what your country can do for you; ask what you can do for your country"", the only two questions that the chiastic statement allows for are whether the listener should ask what the country can do for him, or ask what he can do for his country. The statement also proposes that the latter statement is more favorable. Thus, chiasmus gains its rhetorical efficacy through symmetrical structure causing the belief"
"of falling or being struck. Alternately, falling in love is often described with reference to Cupid's arrow. Other sources, such as ""Tristram Shandy"", describe the process by referring to it as the act of being shot with a gun: 'I am in love with Mrs Wadman, quoth my uncle Toby - She has left a ball here - added my uncle Toby - pointing to his breast'. The twentieth-century saw the concept of love-sickness reconceptualised by psychoanalysis. As early as 1915, Freud asked rhetorically, ""Isn't what we mean by 'falling in love' a kind of sickness and craziness, an illusion,"
"analyzed with many examples of what would be acceptable and what would not, and at the end he makes the assertion that Athens' code of behaviour favors the nobler type of love and discourages the baser. Eryximachus speaks next, though it is Aristophanes' turn, as the latter has not recovered from his hiccups enough to take his place in the sequence. First Eryximachus starts out by claiming that love affects everything in the universe, including plants and animals, believing that once love is attained it should be protected. The god of Love not only directs everything on the human plane,"
"I Won't Say (I'm in Love) ""I Won't Say (I'm in Love)"" is a song written by composer Alan Menken and lyricist David Zippel for Walt Disney Pictures' 35th animated feature film ""Hercules"" (1997). Included on the film's , the song is performed by American actress and singer Susan Egan in her role as Meg, the film's heroine and Hercules' love interest, while singers Cheryl Freeman, Lillias White, Vaneese Y. Thomas, LaChanze and Roz Ryan provide girl group-style backup vocals as the Muses. ""I Won't Say (I'm in Love)"" is a mid-tempo R&B and doo-wop ballad reminiscent of the 1950s"
"a solemn praise of honest living and ends in a mock-heroic song of love for sweetly laughing ""Lalage"" (cf. II.5.16, Propertius IV.7.45). I.23, ""Vitas hinnuleo me similis, Chloë..."" – Fear Me Not, Chloe, and do not shun me. I.24, ""Quis desiderio sit pudor aut modus..."" – To Virgil – A Lament for the Death of Quinctilius I.25, ""Parcius iunctas quatiunt fenestras..."" – Lydia, Thy Charms Are Past – Horace taunts Lydia with her approaching old age and her lack of admirers. I.26, ""Musis amicus tristitiam et metus tradam..."" – In Praise of Aelius Lamia – The poet bids the Muses"
"of Catullus' poems, some scholars have suggested that the bird was a phallic symbol, particularly if ""sinu"" in line 2 is translated as ""lap"" rather than ""bosom"". However, most scholars have rejected this suggestion over the centuries, noting that Catullus is not coy about discussing sex, as shown by his many obscene poems such as Catullus 16. Birds were common love-gifts in the Classical world, and several scholars have speculated that the narrator gave it to the woman; this might explain the poet's identification with the sparrow and his fond lament for the bird in Catullus 3. The biting it"
"Babylonian Talmud states similarly ""All the prophets gazed through a speculum that does not shine, while Moses our teacher gazed through a speculum that shines."" There are other passages from 1 Corinthians 13 that have been notably influential. Perhaps the most significant portion of 1 Corinthians 13 is the revered passage that defines love and indicates how Christians should love others. 1 Corinthians 13, verse 1: ""Though I speak with the tongues of men and of angels, but have not love, I have become sounding brass or a clanging cymbal."" Bob Dylan paraphrases verse 1 in his song 'Dignity': ""I"
"elements"". Welch himself offers the following caution regarding a tendency of enthusiastic readers to see chiasmus where it is not actually present: Some people, of course, have gone overboard with this search, and caution must be employed; otherwise, it is possible to find chiasmus in the telephone book, and the effort becomes meaningless . ... One must be careful in this quest, however, to avoid the problems of the 'hammer syndrome'—to the person holding a hammer, everything looks like a nail. To the person who knows only chiasmus and no other form of literary composition, everything may start looking like"
"of bondage and captivity (Alma 36:29) A': inasmuch as ye shall keep the commandments of God ye shall prosper in the land (Alma 36:30) In literary texts with a possible oral origin, such as ""Beowulf"", chiastic or ring structures are often found on an intermediate level, that is, between the (verbal and/or grammatical) level of chiasmus and the higher level of chiastic structure such as noted in the Torah. John D. Niles provides examples of chiastic figures on all three levels. He notes that for the instances of ll. 12–19, the announcement of the birth of (Danish) Beowulf, are chiastic,"
"simple demonstration of affection can have a broad variety of emotional reactions, from embarrassment to disgust to pleasure and annoyance. It also has a different physical effect on the giver and the receiver. More specifically, the word has been restricted to emotional states, the object of which is a living thing such as a human or animal. Affection is compared with passion, from the Greek ""pathos"". As such it appears in the writings of French philosopher René Descartes, Dutch philosopher Baruch Spinoza, and most of the writings of early British ethicists. However, on various grounds (e.g., that it does not"
"models. In algebraic topology, Chi is used to represent the Euler characteristic of a surface. In neurology, the optic chiasm is named for the letter Chi because of its Χ-shape. In chemistry, the mole fraction and electronegativity may be denoted by the lowercase formula_2. In physics, formula_2 denotes electric or magnetic susceptibility. In rhetoric, both chiastic structure (a literary device) and the figure of speech Chiasmus derive from their names from the shape of the letter Chi. In engineering, chi is used as a symbol for the reduction factor of relevant buckling loads in the EN 1993, a European Standard"
"""Marriage is no real excuse for not loving"", ""He who is not jealous cannot love"", ""No one can be bound by a double love"", and ""When made public love rarely endures"". Some believe that romantic love evolved independently in multiple cultures. For example, in an article presented by Henry Grunebaum, he argues ""therapists mistakenly believe that romantic love is a phenomenon unique to Western cultures and first expressed by the troubadours of the Middle Ages."" The more current and Western traditional terminology meaning ""court as lover"" or the general idea of ""romantic love"" is believed to have originated in the"
"his focus on so much ""unpoetical"" material, Pound quotes Rodolphus Agricola to the effect that one writes ""to move, to teach or to delight"" (""ut moveat, ut doceat, ut delectet""), with the implication that the present cantos are designed to teach. The naturalists Alexander von Humboldt and Louis Agassiz are mentioned in passing. Apart from a passing reference to Randolph of Roanoke, Canto XC moves to the world of myth and love, both divine and sexual. The canto opens with an epigraph in Latin to the effect that while the human spirit is not love, it delights in the love"
"not love I am only a resounding gong or clanging cymbal. 2 And though I have the gift of prophecy, and can understand all mysteries and all knowledge, and though I have faith, that can move mountains, but have not love, I am nothing. 3 And though I give all I possess to the poor, and surrender my body to the flames, but have not love, I gain nothing. 4 Love suffers long and is kind; love does not envy; love does not parade itself, is not puffed up; 5 does not behave rudely, does not seek its own, is"
"Chiastic structure Chiastic structure, or chiastic pattern, is a literary technique in narrative motifs and other textual passages. An example of chiastic structure would be two ideas, A and B, together with variants A' and B', being presented as A,B,B',A'. Alternative names include ring structure, because the opening and closing 'A' can be viewed as completing a circle, palistrophe, or symmetric structure. It may be regarded as chiasmus scaled up from clauses to larger units of text. These often symmetrical patterns are commonly found in ancient literature such as the epic poetry of the ""Iliad"" and the ""Odyssey"". Classicist Bruno"
"rest of the book, Lewis would go on to counterpart that three-fold, qualitative distinction against the four broad types of loves indicated in his title. In his remaining four chapters, Lewis treats of love under four categories (""the highest does not stand without the lowest""), based in part on the four Greek words for ""love"": affection, friendship, eros, and charity. Lewis states that just as Lucifer (a former archangel) perverted himself by pride and fell into depravity, so too can love – commonly held to be the arch-emotion – become corrupt by presuming itself to be what it is not."
"creation drama that turn up in temple, tomb, or coffin texts from ancient Egypt that is described in detail in the Book of Mormon as the coronation of King Mosiah long before these ancient texts were understood by Egyptologists. Supporters of the Book of Mormon claim it uses chiasmus—a figure of speech utilizing inverted parallelism—and claim it is evidence to support the book's ancient origin. Critics such as Jerald and Sandra Tanner argue that chiasmus in the Book of Mormon are a characteristic of Joseph Smith's speech pattern and not evidence of antiquity. They cite chiasmus in the Doctrine and"
"the genuine king. II.3, ""Aequam memento rebus in arduis..."" – The Wisdom of Moderation, The Certainty of Death – To Quintus Dellius. Let us enjoy our life while we may, for death will soon strip us all alike of our possessions. II.4, ""Ne sit ancillae tibi amor pudori..."" – To Xanthias Phoceus – Horace encourages his friend on his love for Phyllis, his slave. II.5, ""Nondum subacta ferre iugum valet..."" – Not Yet! – To a Friend on His Love for Lalage – The maid his friend loves is not yet marriageable and still too young to return his passion"
"one day does not make a spring, so one day or a short time does not make a fortunate or happy man."" The barn swallow symbolises the coming of spring and thus love in the ""Pervigilium Veneris"", a late Latin poem. In his poem ""The Waste Land"", T. S. Eliot quoted the line """"Quando fiam uti chelidon [ut tacere desinam]?"""" (""When will I be like the swallow, so that I can stop being silent?"") This refers to the myth of Philomela in which she turns into a nightingale, and her sister Procne into a swallow. On the other hand, an"
"of a letter from king Nebuchadnezzar. Chapter 3 is unique in that Daniel does not appear in it. Daniel 3 forms part of a chiasmus (a poetic structure in which the main point or message of a passage is placed in the centre and framed by further repetitions on either side) within Daniel 2-7, paired with Daniel 6, the story of Daniel in the lions' den: Chapters 3 and 6 contain significant differences, however. The story of the fiery furnace does not include Daniel, while the story of the lions' den does not include Daniel's friends; the first story takes"
"to describe effects in Latin poetry, which was very carefully written, as accidental. A synchysis may be opposed to chiasmus, which is a phrase in the form A-B-B-A, either in the same line or in two consecutive lines. A line of Latin verse in the form ""adjective A - adjective B - verb - noun A - noun B"", with the verb in the center (or a corresponding chiastic line, again with the verb in the center), is known as a golden line. A highly common occurrence in Virgil's Aeneid, an example is ""aurea purpuream subnectit fibula vestem"", ""a golden"
"a basilisk. Giovanni Boccaccio provides one of the most memorable examples in his ""Il Filostrato"", where he mixes the tradition of love at first sight, the eye's darts, and the metaphor of Cupid's arrow: ""Nor did he (Troilus) who was so wise shortly before... perceive that Love with his darts dwelt within the rays of those lovely eyes... nor notice the arrow that sped to his heart."" William Shakespeare pays a handsome (posthumous) tribute to Christopher Marlowe, who himself wrote ""Who ever loved that loved not at first sight?"" in his 1598 poem ""Hero and Leander"", by citing him the"