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the first flush of (something)

The beginning or early stages of something. Of course they're happy now—they're still in the first flush of marriage!
See also: first, flush, of

fire someone with anger

 and fire someone with enthusiasm; fire someone with hope; fire someone with expectations
Fig. [for someone's words] to fill someone with eagerness or the desire to do something. The speech fired the audience with enthusiasm for change. We were fired with anger to protest against the government.
See also: anger, fire

(in) the first flush of ˈyouth, enˈthusiasm, etc.

when somebody is young or something is new: By then, he was no longer in the first flush of youth.In the first flush of enthusiasm, we were able to get everyone interested in helping.
See also: first, flush, of
References in periodicals archive ?
Bringing Foucault's ill-informed enthusiasm for the Iranian revolution to light is not just a matter of exorcising or excising a malign spirit from Foucault's corpus.
More tellingly, in exposing Foucault's Iranian enthusiasm, Afary and Anderson also want us to reconsider his overripe critique of Enlightenment rationality.
He even seemed to believe during his phase of Iranian enthusiasm that Islam literally approved of sex between men.
In the Schubert, where other pianists find only the inconsolable, Ax brought ebullience and enthusiasm.
Plato in the dialogue between Ion and Socrates first tied the term enthusiasm to the way a poet and a person reciting poetry can become enthralled by the divine.
To get at a broader, more complex history of enthusiasm, several of the contributors examine other terms used in various nations and languages.
Mary Sheriff analyzes the way that in late-eighteenth-century France enthusiasm empowered male artists while weakening female claims to the title of artist.
I first learned of Farber's criticism about twenty years ago, at the height of my enthusiasm for the films of the B-movie producer Val Lewton, who assembled a kind of atelier for writers, directors, cameramen, and actors to churn out low-budget horror movies of extraordinary beauty and, time permitting, intelligence (including The Seventh Victim, I Walked with a Zombie, and The Curse of the Cat People).
The radiant, nearly overwhelming, energy of a multitude of spiritual, though strikingly physical, bodies in William Blake's 1808 engraving of The Vision of the Last Judgment serves as an apt dustjacket illustration for Jon Mee's Romanticism, Enthusiasm and Regulation: Poetics and the Policing of Culture in the Romantic Period.
On the one hand, Mee identifies the current positive meaning of enthusiasm as a product of a long cultural process of containment through which "enthusiasm became less something to be prohibited and excluded than regulated and brought inside the conversation of culture" (3).
In the opening two chapters on the eighteenth century and the 1790s, the first part of Romanticism, Enthusiasm, and Regulation provides the genealogy of the conflicts over enthusiasm in the romantic period.
Shaftesbury's double move of regulating and yet rehabilitating enthusiasm may not be well known today, but it was influential in the eighteenth century.
The second half of the book pursues this question in case studies of Coleridge, Barbauld, Wordsworth, and Blake that integrate analysis of the politics of enthusiasm into readings of poetic form.
Mee's exploration of such poetic "play" between enthusiasm and regulation in chapter four on "Barbauld, Devotion, and the Woman Prophet" sheds new light on gender and prophetic style.