Clarissa

Clarissa is wearing the coat I gave her.

Marina is from Russia and Clarissa is from Sweden.

Mrs. Dalloway said she would buy the flowers herself. For Lucy had her work cut out for her. The doors would be taken off their hinges; Rumpelmayer's men were coming. And then, thought Clarissa Dalloway, what a morning — fresh as if issued to children on a beach.

"Dear!" said Clarissa, and Lucy shared as she meant her to her disappointment (but not the pang); felt the concord between them; took the hint; thought how the gentry love; gilded her own future with calm; and, taking Mrs. Dalloway's parasol, handled it like a sacred weapon which a Goddess, having acquitted herself honourably in the field of battle, sheds, and placed it in the umbrella stand.

It was bound, Clarissa used to think, to end in some awful tragedy; her death; her martyrdom; instead of which she had married, quite unexpectedly, a bald man with a large buttonhole who owned, it was said, cotton mills at Manchester.

My wife's maiden name—Unmarried name, I should rather say […] was Harlowe—Clarissa Harlowe—you heard me call her my Clarissa— I did—but I thought it to be a feigned or a love-name, said Miss Rawlins. […] No—it was her real name, I said.

Following Francis' example, Clare founded an order of religious women known as the Poor Ladies of Assisi (like Francis' Poor Men), and later as the Clarissas or Poor Clares in her honor.

In the protomonastero of Santa Chiara in Assisi, erected from the outset for the Clarissas, however, equally frequent changes and modifications in the location of the nuns' choir suggest that there were still uncertainties as to the best place for it.

The rule of Urban IV also clarified the nomenclature of the Clarissas, with the pope designating the group as the Order of St. Claire rather than Poor Ladies, or Poor Recluses, of San Damiano.

[…] all these obscene references of a sexual nature punctuate the ritualistic prodigality of the Northeast and its winter cycle, and if in the main popular qualification of the character of the clarissa nun called Maria Ermelinda Correia, the composer of the sweet in the mouth of the people, as an expression of her overblown greediness.