What is the end to this Chaucer quote??
819976
Greed. Read below about the Pardoner's Tale which is where you'll find the quote.\n\nThe Pardoner’s Tale:  Use of Verbal and Situational Irony       \n\n  \n\nIn “The Pardoner’s Tale,” Geoffrey Chaucer masterfully frames an informal homily.  Through the use of verbal and situational irony, Chaucer is able to accentuate the moral characteristics of the Pardoner.  The essence of the story is exemplified by the blatant discrepancy between the character of the storyteller and the message of his story.  By analyzing this contrast, the reader can place himself in the mind of the Pardoner in order to account for his psychology. \n\n In the Prologue of the tale, the Pardoner clearly admits that he preaches for nothing but for the greed of gain.  His sermons revolve around the biblical idea that “the love of money is the root of all evil” (1 Timothy 6:10).  Ironically, however, the Pardoner condemns the very same vice that he lives by, as he proclaims “avarice is the theme that I employ in all my sermons, to make the people free in giving pennies—especially to me”.  Thus, covetousness is both the substance of his sermons as well as the mechanism upon which he thrives. He clearly states that repentance is not the central aim of his preaching, by mentioning “my mind is fixed on what I stand to win and not upon correcting sin”. Rather, his foremost intention is to acquire as many shillings as he can in exchange for his meaningless pardons.  In this regard, one can argue that although the Pardoner is evil, he is not a dissembler.  His psychology is clearly not guided by hypocrisy because he does not conceal his intentions under false pretences. \n\n Chaucer clouds the genuine nature of the Pardoner’s psychology in ambiguity.  Upon reading the tale, the reader is left to wonder whether or not the pardoner is simply speaking out of drunkenness, or if he is truly of a malicious character.  With respect to the first condition, there is a possibility that the reason why he admits his intention in the Prologue is because he is drunk.  However, evidently, such behavior is a common practice for the Pardoner.  Thus, it is fair to say that he is prompted more by psychological tendencies than by drunkenness.  With respect to the Pardoner’s character, had he been truly vindictive, he would not have admitted his own greed at all.  Furthermore, he must possess some virtue because he understands the value of repentance.  Hence, the Pardoner’s psychology is neither tainted by drunkenness nor does it reflect an inherently evil character. \n\n The psychology of the Pardoner is actually directed by immoral habits.  Because he is so used to wheedling money out of people, it comes automatically for him.  Psychologically, the Pardoner is a clever man.  Essentially, the Pardoner envelops his sermon on avarice around a subliminal message, urging his audience to purchase his indulgences. \n\n The psychology of the Pardoner is defined by his unyielding love of money. He confesses that his morals are distorted when he states “I can denounce, indeed, the very vice I practice, which is greed”.  Yet, his impurity is not so much a result of his sins as it is a result of his reluctance to change his ways.  He, himself, needs to seek repentance and absolution from his pursuits.  The church was merely his instrument for obtaining money.  As Chaucer notes:  “Best of all he sang the offertory, for he understood that when that song was sung, then he must preach and sharpen his tongue to rake in cash, as well he knew the art, and so he sang out gaily, with full heart”. \n\n   Hence, one can note that the mind of the Pardoner is replete with subtle, contradictory nuances.  Analyzing the machinations of his thought processes, it is clear that the Pardoner does not practice what he preaches.  It is ambiguous, however, as to whether the Pardoner believes what he preaches, but just doesn’t follow his preaches or whether he doesn’t bel
340107
I love Sonnet 130!\n\nI like this site, too:\n\nhttp://www.shakespeare-online.com/sonnets/130detail.html\n\nIt has the poem paraphrased and analyzed.\n\nMore information, including quotes from other writers is at:\nhttp://members.aol.com/danieledg1/sonnets.html\n\nI hope Shakespeare's mistress had a good sense of humor and that she waited around for the end of the sonnet.
792439
a line from a tennyson poem.....\nhis marriage to penelope?
319002
The above answer is correct except I always heard it differently. The last verse as I remember it is:\n\nDown came the good fairy who said\nYou've had three chances \nNow I'm going to turn you into a GOON!\n\nAnd the moral of this story is...\n\nHare today, goon tomorrow.
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Here:\n\nhttp://www.bernardsboe.com/Cedar-Hill/Linked_pages/grade4/warquotes.htm
603073
sorry, i searched poetry sites,quotation sites, by author,firstlines,subject. best i can think of is contact nearest university library or professor of lit. wish you luck, it sounds like a really heartfelt poem. sure wish i knew it.
287181
That's an odd assignment, but there are two OBSOLETE words that end with -wh, found in Chaucer (which I would normally label Middle English, not Modern English, but these ARE found in dictionaries!)\n\nThe words are "lowh" and "slowh"\n\n Lowgh &#92;Lowgh&#92;, Lowh &#92;Lowh&#92;, obs.\n     strong imp. of Laugh. [Cf. 1st Low and 2d Lough.]\n     --Chaucer.\n     [1913 Webster]\n\nSlowh &#92;Slowh&#92;, obs.\n   imperative of Slee,to slay. --Chaucer.
229085
My Last Duchess\n\nThat's my last Duchess painted on the wall,\nLooking as if she were alive. I call\nThat piece a wonder, now: Frà Pandolf's hands\nWorked busily a day, and there she stands.\nWill 't please you sit and look at her? I said\n"Frà Pandolf" by design, for never read\nStrangers like you that pictured countenance,\nThe depth and passion of its earnest glance,\nBut to myself they turned (since none puts by\nThe curtain I have drawn for you, but I)\nAnd seemed as they would ask me, if they durst,\nHow such a glance came there; so, not the first\nAre you to turn and ask thus. Sir, 'twas not\nHer husband's presence only, called that spot\nOf joy into the Duchess' cheek: perhaps\nFrà Pandolf chanced to say, "Her mantle laps\nOver my Lady's wrist too much," or "Paint\nMust never hope to reproduce the faint\nHalf-flush that dies along her throat"; such stuff\nWas courtesy, she thought, and cause enough\nFor calling up that spot of joy. She had\nA heart . . . how shall I say? . . . too soon made glad,\nToo easily impressed; she liked whate'er\nShe looked on, and her looks went everywhere.\nSir, 'twas all one! My favour at her breast,\nThe dropping of the daylight in the West,\nThe bough of cherries some officious fool\nBroke in the orchard for her, the white mule\nShe rode with round the terrace--all and each\nWould draw from her alike the approving speech,\nOr blush, at least. She thanked men,--good; but thanked\nSomehow . . . I know not how . . . as if she ranked\nMy gift of a nine-hundred-years-old name\nWith anybody's gift. Who'd stoop to blame\nThis sort of trifling? Even had you skill\nIn speech--(which I have not)--to make your will\nQuite clear to such an one, and say, "Just this\nOr that in you disgusts me; here you miss,\nOr there exceed the mark"--and if she let\nHerself be lessoned so, nor plainly set\nHer wits to yours, forsooth, and made excuse,\n--E'en then would be some stooping; and I chuse\nNever to stoop. Oh, sir, she smiled, no doubt,\nWhene'er I passed her; but who passed without\nMuch the same smile? This grew; I gave commands;\nThen all smiles stopped together. There she stands\nAs if alive. Will 't please you rise? We'll meet\nThe company below, then. I repeat,\nThe Count your Master's known munificence\nIs ample warrant that no just pretence\nOf mine for dowry will be disallowed;\nThough his fair daughter's self, as I avowed\nAt starting, is my object. Nay, we'll go\nTogether down, Sir! Notice Neptune, though,\nTaming a sea-horse, thought a rarity,\nWhich Claus of Innsbruck cast in bronze for me.\n\n-- Robert Browning\n\n\nI didn't study this very long, but in lines 9-10 it seems like the duke is protective because he draws a curtain around her.
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the end is supposed to remain a mystery, because if you translated it, the meaning would be "lost in translation" \n\nlike how we have phrases in english that people who speak spanish would not understand, like saying "the apple doesn't fall far from the tree"
852806
The vicar returned to the rectory complaining bitterly that someone had stolen his bicycle while he'd been out on his parish calls.\n"I've got an idea," replied the verger."This Sunday in church make the Ten Commandments the theme of the sermon and when you get to "Thou shall not steal" watch their faces carefully for any tell-tale signs."\nSo that Sunday the vicar began his sermon but halfway through suddenly dried up and finished early.\n"What happened?" asked the verger later.\n"Well,I was going to do as you suggested but when I got to "Thou shall not commit adultery," I suddenly remembered where I'd left my bicycle."
781018
you didn't give us enough of the quote to know what it's about. What is the entire quotation and what is the context?
833206
I have no idea of the context, but this is the translation:\n"you, la Bruyère and Tori cannot judge me. Leave the table of multification to God"\nThat last part does not make sense to me. May be the "table of multification" is a french expression for something like "final judgement". \nGreetings from Holland!
310482
Looks like the quote is Harvey Mackay, a motivational speaker.  Couldn't tell you what book it might be from, but I do have a website...\n\nwww.mackay.com
112033
Don't know who said it recently but it's a quote from Shakespeare\n\n"Cry HAVOC' and let slip the dogs of war!" - William Shakespeare, Julius Caesar, Act III
509794
last lines very correct
844063
Sorry , I cannot find where those lines come from. I have spent the last 20 minutes looking for you to no avail.\nIt might be from the book "I know why the caged bird sings", I am not sure.
134236
That poem rocks.  I know that it is controversial.  I would be interested to see what people thought of a choice line or two from the poem.