112, even with the spirit of poor William Cowper
there at Olney.
Prints of great-uncles, famed for their prowess in the East, hung above Chinese teapots, whose sides were riveted by little gold stitches, and the precious teapots, again, stood upon bookcases containing the complete works of William Cowper
and Sir Walter Scott.
A few stray examples include: William Cowper
calling it 'The cup that cheers'.
It's apparently taken from a Christian hymn text written in 1773 by William Cowper
called "God Moves in a Mysterious Way." Regardless of the phrase's origins and its veracity, one thing should be pretty clear: A god who would anoint someone with the morals of Trump to be his representative isn't just "mysterious." It is offensive to believers and non-believers alike.
The name comes from William Cowper
's poem "The Task" (1785) which includes the verse, "Variety's the very spice of life, That gives it all its flavour." The renewal of folklore aesthetics and the revival of interest in the American naturalist painters of the 19th and 20th centuries, such as Andrew Wyeth, Georgia O'Keeffe and Edward Hopper, are also influences.
As well as running her own shops Artemis helped her son Michael with his restaurants and was a crossing lady at William Cowper
School in Summer Lane, Newtown.
-- William Cowper
(1731-1800), Enlish poet and hymnodist, Walking with God(c.1779)
The passionate Marianne Dashwood of Sense and Sensibility says that the "beautiful lines" of the poet William Cowper
have "frequently almost driven me wild".
New discourses and visions are invoked to argue that pet keeping became ever more socially acceptable, evinced in the lives of Lady Isabella Wentworth, William Cowper
, Gilbert White, and Horace Walpole, and in the new genre of pet portraiture.
As English poet William Cowper
famously wrote in 1785, "Variety's the spice of life." And nothing brings more variety to the consumer packaged goods space than flavors and fragrances.
In the preface to his translation of Homer (1791), William Cowper
stressed the "fidelity" the translator owes to the original; however, the object of this fidelity is fluid in the contemporary era.
(Indeed, this chapter circles around a point that Lynch makes in passing several times but might have developed more fully: the possibility that author love is a transformation or secularization of affective religious practices.) Lynch closes by examining the melancholy pleasure that Victorians derived from mourning their dead poets, visiting their graves, and contemplating photographs of landscapes from which landscape poets such as William Cowper
or Wordsworth were pointedly absent.