Inspirational quotes with redoubtable.
Relatedness is vital in a time when so many people suffer from social deafness. Emotional insensitivity being caused by a redoubtable “tin ear” makes it impossible to hear any signs of empathy or capture the vibrant qualities of ‘sharing’. ("Only needed a light ")
...a redoubtable alchemy was at work behind impenetrable veils as the forest prepared its nocturnal mysteries.
This building fool could only be Bess of Hardwicke, a woman whose name is seldom seen in print without the word “redoubtable” in front of it. I wondered if anyone ever called her redoubtable to her face. I redoubted it.
Jealousy appears to be a redoubtable pitfall for love, on the toll road of self-absorption and unshareability. When love has to remain cloistered and ostentatiously exclusionary, envy may show its pernicious power, cause wounding harms and unchain emotional twisters. ("Why has Shé got stars in the sky?")
The very name of the genre itself - fairy tale - originated during this time, for the French writers coined the term conte de fee during the seventeenth century, and it has stuck to the genre in Europe and North America ever since. This "imprint" is important, because it reveals something crucial about the fairy tale that has remained part of its nature to the present. The early writers of fairy tales placed the power of metamorphosis in the hands of women - the redoubtable fairies. In addition, this miraculous power was not associated with a particular religion or mythology, through which the world was to be explained. It was a secular mysterious power of compassion that could not be explained, and it derived from the creative imagination of the writer. Anyone could call upon the fairies for help, and it is clear that the gifted French women writers of the seventeenth century preferred to address themselves to a fairy and to have a fairy resolve the conflicts in their tales rather than the Church, with its male-dominated hierarchy. After all, it was the Church that had eliminated hundreds of thousands of so-called female witches during the previous two centuries in an effort to curb heretical and nonconformist beliefs. However, those "pagan" notions survived in the tradition of the oral wonder tale and surfaced in published form in France when it became safer to introduce in a symbolical code supernatural powers and creatures other than those officially sanctioned by the Christian code. In short, there was something subversive about the institutionalization of the fairy tale in France during the 1690S, for it enabled writers to create a dialogue about norms, manners, and power that evaded court censorship and freed the fantasy of the writers and readers, while at the same time paying tribute to the French code of civilite and the majesty of the aristocracy. Once certain discursive paradigms and conventions were established, a writer could demonstrate his or her "genius" by rearranging, expanding, deepening, and playing with the known functions of a genre that, by 1715, had already formed a type of canon, which consisted not only of the great classical tales-"Cinderella," "Sleeping Beauty," "Rapunzel," "Rumpelstiltskin," "Puss in Boots," "Little Red Riding Hood," "Beauty and the Beast," "Blue beard, " "The Golden Dwarf," "The Blue Bird," and "The White Cat"-but also the mammoth collection The Arabian Nights.
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