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Excerpt from The Oxford Book of English Mystical Verse In the early days of English mysticism the first translation of Dionysius' Mystical Theology was so readily welcomed that it is said, in a quaintly expressive phrase, to have 'run across England like deere'. Since that time the fortunes of mysticism in these islands have been various, but, despite all the chances of repute and disrepute which it has undergone, there has been a continual undercurrent of thought by which it has been not only tolerated but welcomed. There have been, of course, heights of enthusiasm as well as profound depths of apathy in regard to it, but even if the limitations of the greatest enthusiasm have always been evident, so also has been the continuing readiness of some portion of the religious consciousness of the people to respond to what has been most vital in it. It is, in fact, the hypothesis of mysticism that it is not utterly without its witness in any age, even though the voice of that witness be lost in the turmoil of surrounding things. And now it appears - it has in fact been appearing for some years - that the fortunes of mysticism are mending. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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PREFACE. THE Author of this very practical treatise on Scotch Loch - Fishing desires clearly that it may be of use to all who had it. He does not pretend to have written anything new, but to have attempted to put what he has to say in as readable a form as possible. Everything in the way of the history and habits of fish has been studiously avoided, and technicalities have been used as sparingly as possible. The writing of this book has afforded him pleasure in his leisure moments, and that pleasure would be much increased if he knew that the perusal of it would create any bond of sympathy between himself and the angling community in general. This section is interleaved with blank shects for the readers notes. The Author need hardly say that any suggestions addressed to the case of the publishers, will meet with consideration in a future edition. We do not pretend to write or enlarge upon a new subject. Much has been said and written-and well said and written too on the art of fishing but loch-fishing has been rather looked upon as a second-rate performance, and to dispel this idea is one of the objects for which this present treatise has been written. Far be it from us to say anything against fishing, lawfully practised in any form but many pent up in our large towns will bear us out when me say that, on the whole, a days loch-fishing is the most convenient. One great matter is, that the loch-fisher is depend- ent on nothing but enough wind to curl the water, -and on a large loch it is very seldom that a dead calm prevails all day, -and can make his arrangements for a day, weeks beforehand whereas the stream- fisher is dependent for a good take on the state of the water and however pleasant and easy it may be for one living near the banks of a good trout stream or river, it is quite another matter to arrange for a days river-fishing, if one is looking forward to a holiday at a date some weeks ahead. Providence may favour the expectant angler with a good day, and the water in order but experience has taught most of us that the good days are in the minority, and that, as is the case with our rapid running streams, -such as many of our northern streams are, -the water is either too large or too small, unless, as previously remarked, you live near at hand, and can catch it at its best. A common belief in regard to loch-fishing is, that the tyro and the experienced angler have nearly the same chance in fishing, -the one from the stern and the other from the bow of the same boat. Of all the absurd beliefs as to loch-fishing, this is one of the most absurd. Try it. Give the tyro either end of the boat he likes give him a cast of ally flies he may fancy, or even a cast similar to those which a crack may be using and if he catches one for every three the other has, he may consider himself very lucky. Of course there are lochs where the fish are not abundant, and a beginner may come across as many as an older fisher but we speak of lochs where there are fish to be caught, and where each has a fair chance. Again, it is said that the boatman has as much to do with catching trout in a loch as the angler. Well, we dont deny that. In an untried loch it is necessary to have the guidance of a good boatman but the same argument holds good as to stream-fishing...
Author: Daniel Howard Sinclair Nicholson,Arthur Hugh Evelyn Lee
Publisher: Acropolis Books Incorporated
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Authors include Anonymous, Richard Rolle of Hampole, Robert Southwell, Henry Constable, Joshua Sylvester, John Donne, Phineas Fletcher, Robert Herrick, Francis Quarles, George Herbert, Christopher Harvey, Richard Crashaw, Andrew Marvell, Henry Vaughan, Thomas Traherne, Isaac Watts, Alexander Pope, John Byron, William Cowper, William Blake, William Wordsworth, Samuel Taylor Coleridge, Percy Bysshe Shelley, John Henry, Cardinal Newman, James Clarence Mangan, Ralph Waldo Emerson, Robert Stephen Hawker, Elizabeth Barrett Browning, Richard Chenevix Trench, Edgar Allan Poe, Richard Monckton Miles, Alfred, Lord Tennyson, John Stuart Blackie, Robert Browning, William Bell Scott, Christopher Pearse Cranch, Frederick William Faber, Edward Caswall, Aubrey Thomas de Vere, Philip James Bailey, Emily Bronte, Walt Whitman, Dora Greenwell, Matthew Arnold, Coventry Kerset Dighton Patmore, Augusta Theodosia Drane, George MacDonald, William Alexander Archbishop of Armagh, Francis Turner Palgrave, Dinah Maria (Mulock) Craik, Dante Gabriel Rossetti, Geroge Meredith, Henry Nutcombe Oxenham, Christina Rossetti, Thomas Edward Brown, Jean Ingelow, Sir Edwin Arnold, Sir Lewis Morris, Richard Watson Dixon, Roden Berkeley Wriothesley Noel, Sir Alfred Comyn Lyall, Frances Ridley Havergal, Algernon Swinburne, John Addington Symonds, Ellen Mary Clerke, Henry Bernard Carpenter, Harriet Eleanor Hamilton-King, Sarah Williams, Robert Buchanan, James Rhoades, Frederick William Henry Myers, Edward Dowden, Frederick William Orde Ward, Arthur O'Shaughnessy, Gerard Manley Hopkins, Edward Carpenter, Samuel Waddington, John Bannister Tabb, Oscar Wilde, Margaret Deland, Francis Thompson, Arthur Edward Waite, Alice Meynell, George Santayana, William Butler Yeats, Laurence Housman, Richard Le Gallienne, George William Russell, James Stephens, G.K. Chesterton, Aleister Crowley, Evelyn Underhill, Alfred Noyes, John Masefield, Elsa Barker, Sarojini Nayadu, Susan Mitchell, Alice Mary Buckton, Anna Bunston, Eva Gore-Booth, John Charles Earle, Arthur Shearly Cripps, Roberth Hugh Benson, Arthur Symons, Herbert Trench, Jane Barlow, William Sharp, Bliss Carman, Archibald Lampmann, and others.
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This book provides accurate, accessible translations of three classics of medieval Indian Buddhist mysticism. Since their composition around 1000 CE, these poems have exerted a powerful influence on spiritual life.
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This stunning anthology gathers together the riches of poetry in Hebrew from 'The Song of Deborah' to contemporary Israeli writings. Verse written up to the tenth century show the development of piyut, or liturgical poetry, and retell episodes from the Bible and exalt the glory of God. Medieval works introduce secular ideas in love poems, wine songs and rhymed narratives, as well as devotional verse for specific religious rituals. Themes such as the longing for the homeland run through the ages, especially in verse written after the rise of the Zionist movement, while poems of the last century marry Biblical references with the horrors of the Holocaust. Together these works create a moving portrait of a rich and varied culture through the last 3,000 years.
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This book is part of the TREDITION CLASSICS series. The creators of this series are united by passion for literature and driven by the intention of making all public domain books available in printed format again - worldwide. At tredition we believe that a great book never goes out of style. Several mostly non-profit literature projects provide content to tredition. To support their good work, tredition donates a portion of the proceeds from each sold copy. As a reader of a TREDITION CLASSICS book, you support our mission to save many of the amazing works of world literature from oblivion.
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Offers a range of poetic and spiritual works by contemporary writers, including Richard Wilbur, Annie Dillard, Daniel Berrigan, and Louise Erdrich, in a collection divided into such sections as the Cross, Transformation, Injustice, and the Mystical Body. UP.
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In Gondal’s Queen, Fannie Elizabeth Ratchford presents a cycle of eighty-four poems by Emily Jane Brontë, for the first time arranged in logical sequence, to re-create the “novel in verse” which Emily wrote about their beloved mystical kingdom of Gondal and its ruler, Augusta Geraldine Almeda, who brought tragedy to those who loved her. Thanks to previous publications by Ratchford, the imaginative world of Gondal is well known not only to Brontë scholars but also to general readers. Only in the present book, however, with Emily’s lovely poems restored to the setting which gave them being, can the full impact of this extraordinary literary creation be realized. The life story of Gondal’s Queen, from portentous birth to tragic death, is set in a world compounded of dark Gothic romance and Byronic extravagance; yet out of it emerges not only a real country of wild moor sheep and piercingly beautiful nights but also the portrait of a real woman, whose doom was wrought not by the stars but by the clashing complications of her own nature. In A.G.A. (the appellation most usually applied to the Queen), Emily Brontë created a personality, not a puppet reciting lovely lines. And Ratchford, in reconstructing her story, has re-affirmed the dignity, beauty, and richness of Emily’s poetry. Gondal’s Queen is the end of a long trail of research and literary detection which has led Ratchford to all known Brontë documentary sources. This quest was originally stimulated by curiosity over a tiny booklet signed, “C. Brontë, June 29th, 1837,” in the Wrenn Library at the University of Texas at Austin. Ratchford’s intense and astonishingly fruitful interest in the Brontës had its origin in her attempt to unravel the fascinating puzzle presented by this little book, which seemed to be merely a series of childish vignettes held together by “a shadow of a common character” and a “tendency toward a unified plot.” Bit by bit, Ratchford assembled clues from manuscripts and obscure publications until the significance of the play world of the Brontë children began to emerge. In spite of the fact that the Brontës had been the subject of the liveliest literary speculation since their deaths, it remained for Ratchford to establish the importance of their juvenile writings to the later writings of Charlotte. In successive publications she presented the accumulating evidence. For a time her curiosity was centered on Charlotte and the group, but it finally became focused on Emily through a manuscript journal fragment which fortunately came to hand. Unlike Charlotte, Emily left no prose works from her childhood. But it is apparent from journal entries and birthday notes written by Emily and Anne (whose shared creation Gondal was) not only that the two younger Brontës lived in and sustained daily an imaginary world which had evolved from the earlier play of the four children together, but also that they had written separately voluminous histories and “novels” about it. Of Emily’s vast Gondal literature, only a small body of verse has survived, poems originally intended for no eye but her own and possibly Anne’s. But it is clear that Gondal was not only Emily Brontë’s childhood dream world but also the major preoccupation of her adult creative life.
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Excerpt from Pauline: A Fragment of a Confession Pauline is a. Large old-fashioned duodecimo volume of three sheets, its pages measuring when 'uncut - 7% x 4% inches. In all respects save the paper, which it has been found absolutely impossible to match exactly, the present reprint may be considered a very good and precise repre sentation of it. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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For José Ángel Valente, the word was foremost. He was of a generation that came of age under the Franco dictatorship. But unlike many of his contemporaries, he did not often address political or social issues directly in his poems. His influence as a poetic force proved to be much deeper. From the outset Valente’s work was bold yet disciplined, immediate yet lyrical, combining poetic precision with a knack for capturing vital moments and a keen ear for musicality. His chief concern was poetry that explored and transcended itself: poetry as knowledge. A poet of unfailing integrity, he never wavered in his pursuit of the truth of the word. Exploring questions of love, loss, and the spirit, he stripped twentieth-century Spanish poetry of its rhetorical excesses, producing contemplative, introspective, and at times mystical verses, rejecting the facile and embracing silence. In his later years, he turned to stirring, highly distilled prose poems in such works as The Singer Does Not Awaken and Landscape with Yellow Birds. Then the clear melody of his early verse gave way to intensely resonant passages that folded in upon each other and opened startling vistas in unexpected directions. This is the first major selection of Valente’s work to appear in English. From the Trade Paperback edition.
The Mysticism of Isaac Luria, Founder of Modern Kabbalah
Author: Ḥayyim ben Joseph Vital,Isaac ben Solomon Luria
Publisher: North Atlantic Books
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Kabbalah of Creation is a new translation of the early Kabbalah of Rabbi Isaac Luria, founder of the most influential Jewish mystical school of the last 400 years. Living in relative obscurity in Northern Galilee, Luria experienced a powerful epiphany that influenced his lyrical, influential text. Poetically and meditatively described, the range of subjects includes the revelation of the Godhead's light in the world and its relationship to every aspect of the human life cycle, including lovemaking, conception, gestation, birth, and maturation.
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Written from the ninth to the twentieth century, these poems represent the peak of Islamic Mystical writing, from Rabia Basri to Mian Mohammad Baksh. Reflecting both private devotional love and the attempt to attain union with God and become absorbed into the Divine, many poems in this edition are imbued with the symbols and metaphors that develop many of the central ideas of Sufism: the Lover, the Beloved, the Wine, and the Tavern; while others are more personal and echo the poet's battle to leave earthly love behind. These translations capture the passion of the original poetry and are accompanied by an introduction on Sufism and the common themes apparent in the works. This edition also includes suggested further reading.