Such accommodation, though sometimes purely literary or stylistic, generally has the definite purpose of instruction, and is frequently used both in the New Testament and in pulpit utterances in all periods as a means of producing a reasonably accurate impression of a complicated idea in the minds of those who are for various reasons unlikely to comprehend it otherwise.
This chic, quaint Italian restaurant's decor exudes warmth and is well-appointed with appealing, stylistic details.
Judges v., stories of Elijah and Elisha), and their stylistic variations may be, as Gunkel suggests, the mark of a district or region; for this district one would look in the neighbourhood of Jerusalem.
Only on the assumption that the book of Genesis is a composite work is it possible to explain the duplication of events, the varying use of the divine names Yahweh and Elohim, the linguistic and stylistic differences, the internal intricacies of the subject matter, and the differing standpoints as regards tradition, chronology, morals and religion.'
1); and both are marked, broadly speaking throughout, though in some parts much more strongly than in others, by stylistic characteristics which we may conveniently call "Lucan" without making a premature assumption as to the authorship.
He analyses significant stylistic peculiarities such as occur, e.g., in Isaiah xxiv.-xxvii.
The stylistic argument shows the Theaetetus relatively early.
To the south of the Anapus is the hill of Polichne, on which stood the Olympieium, attributed on stylistic grounds to 581 B.C. Its monolithic St Paul tarried at Syracuse three days on his way to Rome (Acts xxviii.
Gibbon's stylistic artifice both averted the peril of prosecution and rendered the attack more telling.
Poggio's History of Florence, written in avowed imitation of Livy's manner, requires separate mention, since it exemplifies by its defects the weakness of that merely stylistic treatment which deprived so much of Bruni's, Carlo Aretino's and Bembo's work of historical weight.
On the whole, while many parts of the Koran undoubtedly have considerable rhetorical power, even over an unbelieving stylistic reader, the book, aesthetically considered, is by Weak- no means a first-rate performance.
Viewed in this light Petrarch anticipated the Italian Renaissance in its weakness - that philosophical superficiality, that tendency to ornate rhetoric, that preoccupation with stylistic trifles, that want of profound conviction and stern sincerity, which stamp its minor literary products with the note of mediocrity.