enthusiasm

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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 (one) with (an emotion)

To cause one to feel a particular emotion. Overhearing Tim's nasty comments about me fired me with anger. I was having a rough day until thoughts of our upcoming beach vacation fired me with joy.
See also: fire

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 ?
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.
Religious revivals are hard to define, but they always include a collective, region-wide enthusiasm for charismatic preachers, belief in miracles, and emotional conversion experiences either described in public "testimony" or enacted directly before an audience.
As with previous revivals, the religious enthusiasm in Montgomery was not confined to the poor and uneducated.
Of all the Movement's strategists, the one least inclined to religious enthusiasm was Bayard Rustin.
(8) Orianne Smith avoids this dichotomizing move by acknowledging more subtle differences; she reads in Shelley's heroines a history of female enthusiasm from "religious fervor" to "political idealism." (9) The rhetoric of religious zeal infiltrated political and aesthetic discourse in eighteenth-century Britain.
(15) An Italian review by Percy Shelley never appeared in print, but it also addressed inspiration, reason, and the poetic imagination, prefiguring the Defence's meditations on enthusiasm (MWSJ, 1:350n).
Mary Shelley's novel reading also shaped her thoughts on enthusiasm. Her most significant fictional interlocutor during the run up to Valperga's publication was Germaine de Stael's Corinne; ou d'Italie (1807), which Shelley first read in 1815 (MWSJ, 1:66-68, 88).
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.
These papers succeed in showing the complexities that often get washed over in standard descriptions of the Enlightenment's use of "enthusiasm." The focus of most of these papers is understandably on the latter part of the eighteenth century as romanticism--another complex term--begins to rise.
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.
The title's references to "policing" and "regulation" suggest that Mee's methodology derives from Michel Foucault, but Romanticism, Enthusiasm, and Regulation also offers an important correction to Foucauldian approaches to literature, power, and discourse.
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.
What's lovely about the Farber/Patterson collaborations is their shared enthusiasm for certain directors, particularly Fassbinder (whose use of color and composition they liken to "Mondrian with a sly funk twist").