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Summers of Herrick's poems, "The Widdowes teares: or, Dirge of Dorcas" (N-123), is best understood as Herrick's lamentation for his Church. Moreover, one of the most fascinating (and unjustly neglected) 52Claude J. By reference to the context of persecution, many aspects of Noble Numbers become comprehensible, including especially its emphasis on the efficacy of suffering and its strategic Apocalypticism, as well as its defiant Laudianism and even its melancholy conclusion in Christ's empty tomb. Although the subject is only infrequently broached directly, the fear and fact of persecution pervasively inform the collection as a whole, contributing to its pronounced sense of apprehensiveness and defeat and to its barely muffled note of despair. The persecution of the Church is a reiterated concern in Noble Numbers. What has not previously been noticed, however, is that Noble Numbers not only "plays royalism in a religious key, affirming its author's commitment to the conservative Anglican ideal of the English as submissive children of their mother the church,"3 but it also specifically mourns the desecration of the Established Church by the triumphant Parliamentarians. More subtly, the frequent celebrations of country festivities and the replications of ancient ceremonies in Hesperides also participate in an ideological project, testifying to the poet's longing for an older, more stable society and establishing a conservative ideal of "Merry England" against which are measured the turmoil and dissension of the poet's unhappy present.2 Moreover, Herrick's poetry actively responds to the religious controversies of the day, supporting Laudian religious attitudes andpractices, especiallythose thatwere vehemently attacked by Puritans. Most blatantly, the dedication of Hesperides to Prince Charles, the encomia addressed to members of the royal family, the celebrations of Royalist triumphs in the Civil War, and the intimate reflections on the "Times most bad" all witness to Herrick's political allegiance and to the depth and constancy of his commitment.
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Summers The recent attempts to re-historicize Herrick's poetry have emphasized its sociological and political contexts, especially as they are reflected and expressed in the poetry's Royalist ideology and fierce anti-Puritanism.1 As these studies have shown, the momentous religio-political controversies of the 1630s and 1640s leave their impress upon Herrick's poetry in a number of ways, both obvious and subtle. In Latin sources, the word is formosissima.In lieu of an abstract, here is a brief excerpt of the content:
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Καλλίστῃ is the dative singular of the feminine superlative of καλός, beautiful. The most popular version of the inscription is ΤΗΙ ΚΑΛΛΙΣΤΗΙ ( Ancient Greek: τῇ καλλίστῃ, romanized: tē(i) kallistē(i), Modern Greek: τη καλλίστη ti kallisti "for/to the most beautiful"). In some later sources, Eris inscribed on the apple "for the fair" or "to the most beautiful" before tossing it. It was so named ("block of discord") because it features four different interpretations of Modernisme architecture: Antoni Gaudí's Casa Batlló, Lluís Domènech i Montaner's Casa Lleó Morera, Josep Puig i Cadafalch's Casa Amatller, and Enric Sagnier's Casa Mulleras.
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The reason for this usage is that manzana means both "apple" and "city block" in Spanish. In the Eixample district of Barcelona, there is a block nicknamed in Spanish La manzana de la discordia ( Catalan: L'illa de la discòrdia). "Apple of Discord") but Zankapfel ("Quarrel-apple") and rarely Erisapfel the Dutch is twistappel ("Strife-apple"). Also, in German and in Dutch, the words are used a lot more often colloquially than in English, though in German the colloquial form is not Apfel der Zwietracht (lit. Because of this, the Roman goddess corresponding to the Greek Eris was named "Discordia".