Questions

This is a list of all the questions and their associated study carrel identifiers. One can learn a lot of the "aboutness" of a text simply by reading the questions.

identifier	question
19061	And if their houses, how much more their temples and other public buildings?
19061	If such is Pompeii, what was Athens?
19061	Know ye the land of the cypress and myrtle, where the flowers ever blossom, the beams ever shine?
19061	The island and the Ægean sea, the mountains of Argolis, and the peaks of Pindus and Olympus, and the darkness of the Boeotian forests interspersed?
19061	What scene was exhibited from the Acropolis, the Parthenon, and the temples of Hercules, and Theseus, and the Winds?
19061	Where find words to express all this?
19061	Why do the beggars rap their chins constantly, with their right hands, when you look at them?
18845	But how do you know that he was born here?
18845	They?
18845	And what effect has this splendor on those who pass beneath it?
18845	But how can the physiognomy of a church be conveyed by words?
18845	Did they possess the wealth to justify them in such an enterprise?
18845	Do we not already see in this renaissance of the fourteenth century that of the sixteenth?
18845	Has the world ever seen a collection of greater artistic and material value exhibited in a single building?
18845	How is one to get out of the difficulty?
18845	THE UFFIZI GALLERY[39] BY HIPPOLYTE ADOLPHE TAINE What can be said of a gallery containing thirteen hundred pictures?
18845	Thou art the garden of the world, the home Of all Art yields, and Nature can decree; Even in thy desert, what is like to thee?
18845	Why should this not have been?
18845	Would they have designed such a tower to match St. Mark''s, which was at that time a small church with walls of wood?
37889	Do you see that dirty fellow yonder?
37889	What do you want with him?
37889	*****"If thou regret''st thy youth,_ why live?_ The land of honourable death Is here: up to the field, and give Away thy breath!
37889	A man came out as owner of a vessel and cargo, and also master:_ quere_, could he be admitted?
37889	After all, is not our reverence misplaced, or, rather does not our respect for deeds hallowed by time render us comparatively unjust?
37889	But what do I say?
37889	But where were they who once occupied them?
37889	Can this beautiful city, rich with the choicest gifts of Heaven, be pre- eminently the abode of pestilence and death?
37889	Did ever a man talk with a king who was not pleased with him?
37889	Did they expect to give him a name by mingling him with the ashes of the immortal dead?
37889	Did they expect to steal immortality like fire from the flint?
37889	He begged my pardon, but doubtfully_ suggested_,"You are not black?"
37889	If he takes it so coolly, thought I, what is it to me?
37889	Indeed, how could it be otherwise?
37889	Shall I or shall I not"make an operation"in Athens?
37889	There was nothing there to defend; their miserable lives were not worth taking; why were these weapons there?
37889	We touched our hats to him, and he returned the civility; and what could he do more without inviting us to dinner?
37889	What had he to do there?
37889	Where were they who should now be coming out to rejoice in the return of a friend and to welcome a stranger?
37889	Who can shake off the feeling that binds him to his native land?
37889	where a man carries about with him the seeds of disease to all whom he holds dear?
37947	Can you speak Latin?
37947	Do you play?
37947	Do you sing?
37947	Shall I not take mine ease in mine own inn?
37947	What do you do? 37947 At one time, finding it impossible to express himself, he said,Parlatis Latinum?"
37947	But what are the Russian dead to me?
37947	Having overreached the mark, and been guilty of being detected, he was brought before the proper tribunal; and when asked,"Why did you take a bribe?"
37947	I again answered"No;"and he asked me, with great simplicity,"Cosa fatte?
37947	I answered"No;"and he continued,"Suonate?"
37947	It meant that it was needless to add an epitaph, for no man would ask, Who was Kosciusko?
37947	It might be asked, What have these men to fight for?
37947	Niente?"
37947	Nothing?"
37947	Shortly after he returned, and again walking round, stopped and addressed me,"Spreechen sie Deutsch?"
37947	There is an ancient saying,"Who can resist the gods and Novogorod the Great?"
37947	What have I done now?
37947	What should I write?
37947	What was he?
37947	Where was his firstborn child and only son?
37947	Will the reader believe me?
37947	that chill the sources of enjoyment, and congeal the very fountains of life?"
37947	the presumptive heir of his throne and empire?
37947	where did he live, and is his race extinct?
14972	''And what,''I struck in,''is this minimum or maximum that music gives?''
14972	''Do you really think so?
14972	''Do you really think so?''
14972	''E tu hai taciuto?''
14972	''Had we really enjoyed the_ pranzo_?
14972	''How shall I ever invent jokes in this strange land?
14972	''What,''said Novalis,''are thoughts but pale dead feelings?''
14972	''Where are Porthos and Aramis, my friend?''
14972	''Will it do for Chioggia, Francesco?''
14972	***** COMO AND IL MEDEGHINO To which of the Italian lakes should the palm of beauty be accorded?
14972	--''What does it teach me?''
14972	A Romeo, a Lovelace, a Lothario, a Juan?
14972	A mother near her death?
14972	A sister?
14972	After all, what is more everlasting than terra- cotta?
14972	And did we think the custom of the wedding_ un bel costume_?''
14972	And now and then an upper crust of ice gives way; and will the gulfs then drag us down?
14972	And what is music but emotion, in its most genuine essence, expressed by sound?
14972	Are not all things, even profanity, permissible in dreams?
14972	Between that quiet canvas of the''Presentation,''so modest in its cool greys and subdued gold, and the tumult of flying, running?
14972	But having once stood there, how can we forget the station?
14972	But how to get at the window, which is pretty high above the ground, and out of reach of the most ardent revellers?
14972	But unless he had seen it with his eyes, what poet would have ventured to devise the thing and display it even in the dumb show of a tragedy?
14972	But who are the several heroes of the Æginetan pediment, and what was the subject of the Pheidian statues on the Parthenon?
14972	But who can resist the influence of Greek ideas at the Cap S. Martin?
14972	But, since it was a dream and nothing more, why should I repeat it?
14972	Did he hope that the exiles would return to Florence, and that he would enjoy an honourable life, an immortality of glorious renown?
14972	Did he imitate the Roman Brutus in the noble spirit of his predecessors, Olgiati and Boscoli, martyrs to the creed of tyrannicide?
14972	Did the murderers find it blurred in its fine lineaments, furrowed with lines of care, hollowed with the soul''s hunger?
14972	Do I interpret your meaning, gracious lady?''
14972	Do you not hear the women cry?
14972	Emon?
14972	Have we not all seen the anguish of thought- fretted faces smoothed out by the hands of the Deliverer?
14972	He met an old woman herb- gathering at daybreak, and said,''Mother, hast thou seen a crow or other bird?''
14972	How are we to square this testimony with the witness of the bronze before us?
14972	How can we answer these questions except by supposing that music was for him the utterance through art of some emotion?
14972	How can we fail, amid the tumult of our common cares, to feel at times the hush of that far- off tranquillity?
14972	How can you be certain that the part itself did not stimulate his musical faculty to fresh and still more appropriate creativeness?
14972	How can you prove he did not feel a natural appropriateness in the_ motifs_ he selected from his memory for Cherubino?
14972	How can you prove to me that the melodies he gave to Cherubino had not been evolved from situations similar to those in which Cherubino finds himself?
14972	How shall we describe their potency?
14972	How should the legend be interpreted?
14972	I continued,''is the drama but emotion presented in its most external forms as action?
14972	I wondered whether they were tingling still with the heart- throbs and with the pressure of those many arms?
14972	If Luini had felt passion, who shall say?
14972	If the gods that men have made and ignorantly worshipped be really but glorified copies of their own souls, where is the sun in this parallel?
14972	Is not, indeed, our whole life of this nature?
14972	Is there truth, then, in the dim tradition that this mountain land was colonised by Etruscans?
14972	Is, then, the anthropomorphic God as momentary and as accidental in the system of the world as that vapoury spectre?
14972	Is_ Ras_ the root of Rhætia?
14972	Meanwhile, what had become of young Goldoni?
14972	My literary taste was tickled by the praise bestowed in the Augustan age on Rhætic grapes by Virgil: Et quo te carmine dicam, Rhætica?
14972	Now, really, were we amusing ourselves?
14972	Of one of these he asked,''Whose is yonder funeral procession returning from San Pietro?''
14972	Perchè non vieni ancora?_ pleads Leporello; the chorus shouts:_ Perchè?
14972	Perchè non vieni ancora?_ pleads Leporello; the chorus shouts:_ Perchè?
14972	Scegliesti?
14972	She is quite alone; but are not her father and mother in bed above, and within earshot?
14972	So they mounted to the bedroom, and Lorenzino, knowing where the Duke was laid, cried:''Sir, are you asleep?''
14972	THE CASTELLO OF FERRARA Is it possible that the patron saints of cities should mould the temper of the people to their own likeness?
14972	The women fluttered about us and kept asking whether we really liked it all?
14972	The young poet felt at home; how could a comic poet feel otherwise?
14972	Then, with a sudden and vehement transition to the pathos of her own sorrow, she exclaims:--''Halla mai bista nissunu Tumbà l''omi pe li canti?''
14972	Thereupon she began to scold her charge, and say,''Is this a fair and comely thing, to stand all day at balconies and throw flowers at passers- by?
14972	These were of unquestionable value; for has not Cicognara engraved them on a page of his classic monograph?
14972	To reach such a garden and such sunlight who would not mount six stories and thread a labyrinth of passages?
14972	VII.--LORENZINO BRUTUS It remains to ask ourselves, What opinion can be justly formed of Lorenzino''s character and motives?
14972	Was it for this that we had left our English home, and travelled from London day and night?
14972	Was the winged and sworded genius upon the Ephesus column meant for a genius of Death or a genius of Love?
14972	We are forced to go farther back, and ask ourselves, What suggested it in the first place to the composer?
14972	What changed the face, so beautiful and terrible in youth, to ugliness that shrank from sight in manhood?
14972	What does a man want more?
14972	What does it communicate to you?''
14972	What does the lamb mean?
14972	What has Love to do With prudence?
14972	What pass or cranny in that precipice is cloven for its escape?
14972	What were the God who sat outside to scan The spheres that''neath His finger circling ran?
14972	What will Cherubino be after three years?
14972	What would he find distinctive of their spirit?
14972	What, after all, is the love of the Alps, and when and where did it begin?
14972	What, again, was the temporal power of the Papacy but a sword embedded in a cross?
14972	What, we think, as we gaze upward, would the Master have given for such a craftsman?
14972	When I show thy shirt, who will vow to let his beard grow till the murderer is slain?
14972	When he murdered his cousin, was he really actuated by the patriotic desire to rid his country of a monster?
14972	Whence can it issue?
14972	Where then can a more complete artistic harmony be found than in the opera?''
14972	Who is there left to do it?
14972	Who knows what cry of the Convention made the painter fling his palette down and leave the masterpiece he might have spoiled?
14972	Who shall translate those curiously perfect words to which tone and rhythm have been indissolubly wedded?
14972	Who was he?
14972	Who will undertake thy vengeance?
14972	Why did the Lord so much desire you?
14972	Why does the torrent shout, the avalanche reply in thunder to the music of the sun, the trees and rocks and meadows cry their''Holy, Holy, Holy''?
14972	Why linger pondering in the porch?
14972	Why rose the Camaldolis and Chartreuses over Europe?
14972	Why, morning after morning, does the red dawn flush the pinnacles of Monte Rosa above cloud and mist unheeded?
14972	Why, then, is this?
14972	Why, then, should monks, so persuaded of the riddle of the earth, have placed themselves in scenes so beautiful?
14972	Without some other power than the mind of man, could men have fashioned for themselves those ideals that they named their gods?
14972	Would he like the voyage?
14972	_ Auf den Alpen droben ist ein herrliches Leben!_ Did the echoes of Gian Galeazzo''s convent ever wake to such a tune as this before?
14972	a disillusioned rake, a sentimentalist, an effete fop, a romantic lover?
14972	art thou sleeping?
14972	whether it was true we danced?
14972	whether we should come to the_ pranzo_?
14972	who will console me for your loss?
14972	why did he use it precisely in connection with this dramatic situation?
14634	''And has he got a vote?''
14634	''Does his coat Fit?''
14634	''What are you called?''
14634	''What''s his race?''
14634	''Who''s his father?''
14634	A bloodhound; do you brave, do you stand me?
14634	A bravo is asked: Dost thou imagine thou canst slide on blood, And not be tainted with a shameful fall?
14634	A girl speaks thus within sight of the grave( p. 808):-- Yes, I shall die: what wilt thou gain?
14634	Ah, when will dawn that blissful day When I shall softly mount your stair, Your brothers meet me on the way, And one by one I greet them there?
14634	Ah, when will dawn that day of bliss When we before the priest say Yes?
14634	Am I your dog?
14634	And what can be more piteous than this prayer?
14634	And whence flows this pride?
14634	But how should the unfortunate Francesco be entrapped?
14634	Charles Lamb was certainly in error?
14634	Couldst thou not speak some seasonable word, Tell him what shame this idle love hath wrought?
14634	Do the noblemen of Rome Erect it for their wives, that I am sent To lodge there?
14634	Do you know me?
14634	Fair one, haste our king to greet: Who will fling him blossoms sweet Soonest on this first of May?
14634	For what past sorrow is he weary of his life?
14634	From those who feel the fire I feel, what use Is there in asking pardon?
14634	He looks sturdy, and may live to be of any age-- doomed always, is that possible, to beg?
14634	He who steals another''s heart, Let him give his own heart too: Who''s the robber?
14634	How can I sing light- souled and fancy- free, When my loved lord no longer smiles on me?
14634	How can I sing light- souled and fancy- free, When my loved lord no longer smiles on me?
14634	How can I sing light- souled and fancy- free, When my loved lord no longer smiles on me?
14634	How can I sing light- souled and fancy- free, When my loved lord no longer smiles on me?
14634	How have I made, dear Lord, dame Fortune wroth?
14634	How indeed could he make this city in a moment free, after sixty years of slow and systematic corruption?
14634	How shall I bear a pang so passing sore?
14634	How shall I make the fount of tears abound, To weep apace with grief''s unmeasured flow?
14634	How shall we reconstruct the long- past life which filled its rooms with sound, the splendour of its pageants, the thrill of tragedies enacted here?
14634	I have often asked myself, Who, then, was this nun?
14634	In his rage he cries: What fury raised_ thee_ up?
14634	In other words, what is the characteristic which, proceeding from the personality of the artist, is impressed on all his work?
14634	In the following picture of the house of Venus, who shall say how much of Ariosto''s Alcina and Tasso''s Armida is contained?
14634	Is a girl about to win A brave husband in her lover?-- Straight you set to talk him over:''Is he wealthy?''
14634	Is all art excellent in itself and good in its effect that is beautiful and earnest?
14634	Is he out in it, and where?
14634	Love, what hast thou to command?
14634	Mark ye how sunk in woe The poor wretch forth doth pass, And may not answer, for his grief, one word?
14634	Methinks I am dropping in swoon or slumber: Am I drunken or sober, yes or no?
14634	Midas treads a wearier measure: All he touches turns to gold: If there be no taste of pleasure, What''s the use of wealth untold?
14634	No, you pander?
14634	Now, prithee, let me hear what made you stay So long upon the upland lawns away?
14634	O traitor hill, what shall it be?
14634	O traitor hill, what will you do?
14634	Or is it my brain that reels away?
14634	Or with thy beauty choose To make him blest who loves thee best of all?
14634	Or, like the black and melancholic yew- tree, Dost think to root thyself in dead men''s graves, And yet to prosper?
14634	Oredimus?
14634	Say, hast thou seen a calf of mine, all white Save for a spot of black upon her front, Two feet, one flank, and one knee ruddy- bright?
14634	Say, hast thou seen her now?
14634	See''st thou that all his senses are distraught?
14634	See, I have emptied my horn already: Stretch hither your beaker to me, I pray: Are the hills and the lawns where we roam unsteady?
14634	Shall we these years that are so fair let fly?
14634	Should he bring manuscripts or marbles, precious vases or inscriptions in half- legible Greek character?
14634	Since you beg with such a grace, How can I refuse a song, Wholesome, honest, void of wrong, On the follies of the place?
14634	Since you beg with such a grace, How can I refuse a song, Wholesome, honest, void of wrong, On the follies of the place?
14634	Tell me, dear love, which are the most, Your light steps or the sighs they cost?
14634	Tell me, dear love, which more abound, My sighs or your steps on the ground?
14634	The scholar''s scepticism, which lies at the root of his perversity, finds utterance in this meditation upon death: Whither shall I go now?
14634	Then answers Love: Hast thou no memory How I to lovers this great guerdon give, Free from all human bondage to endure?
14634	Thyrsis, what thinkest thou of thy loved lord?
14634	What anguish of remorse has driven him to such a solitude?
14634	What are these weights my feet encumber?
14634	What beauty manifest?
14634	What calm is in the kiss of noon?
14634	What found you by the way to do?
14634	What grace of heaven, what lucky star benign Yields me the sight of beauty so divine?''
14634	What grace, what love, what fate surpassing fear Shall give me wings like dove''s wings soft as snow, That I may rest and raise me from the clay?
14634	What have I done, dear Lord, the world to cross?
14634	What have I done, dear Lord, to fret the folk?
14634	What history had she?
14634	What is''t distracts you?
14634	What joy hast thou to keep a captive hung?
14634	What joy hath rapt me from my own control?
14634	What light is this?
14634	What man is he who with his golden lyre Hath moved the gates that never move, While the dead folk repeat his dirge of love?
14634	What mattered it that the theme was slight?
14634	What melody?
14634	What of the calf?
14634	What place would there be for a Correggio or a Raphael in such a world as Webster''s?
14634	What sorrow- laden song shall e''er be found To match the burden of my matchless woe?
14634	What sweet makes me swoon?
14634	What terrible crime had consigned him to this living tomb?
14634	What was the cause of his death?
14634	What''s this flesh?
14634	What, me, my lord?
14634	What, then, is the Correggiosity of Correggio?
14634	When comes the day, my staff, my strength, To call your mother mine at length?
14634	When will the Italians learn to use these men as Fabius or as Cæsar, not as the Vitelli and the Trinci used them?
14634	When will the day come, love of mine, I shall be yours and you be mine?
14634	Whence came pure peace into my soul?
14634	Where am I?
14634	Where is the sun which shone so fair?
14634	Who brought me here?
14634	Who can rebuke me then if I am kind So far as honesty comports and Love?
14634	Who e''er will sing so sweetly, now she''s gone?
14634	Who hath laid laws on Love?
14634	Who knows, for instance, the veritable author of many of those mighty German chorals which sprang into being at the period of the Reformation?
14634	Who speaks?
14634	Who was the first to give it shape and form?
14634	Why did the Greeks consecrate these myrtle- rods to Death as well as Love?
14634	Why do we here desire the flower of some emergent feeling to grow from the air, or from the soil, or from humanity to greet us?
14634	Will pity not be given For one short look so full thereof?
14634	Wilt thou not put thy flower of youth to use?
14634	Would you be kicked?
14634	Would you have your neck broke?
14634	Yet both perhaps have scarcely interpreted their own spirit; for is not the true source of tears deeper and more secret?
14634	an lateri juncta puella meo?_ EURYDICE.
14634	through what long years Will she withhold her face from me, Which stills the stormy skies howe''er they rave?
14634	what is''t?
14634	what''s that?
14634	what''s that?
14634	wherefore did she cease and loose my hand?