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So far as I am aware, this is the first attempt on the part of a Catholic to render St. Bernard’s famous Discourses on the Canticle of Canticles available for English readers. It is passing strange that it should be so; passing strange that the most important work, perhaps, of him who has been called by excellence the Doctor of Love and the Prince of Mystics, should be so neglected. But the Sermons on the Canticle are not singular in this respect. The same neglect has been extended to practically all the writings of the Melliduous Doctor, with great loss to spirituality. Aeterna Press
An examination of ideas and ideals of medieval courtly love and the transition into later Romantic love, analyzing the work of Dante, Shakespeare, and Schopenhauer, among many others. Review), "monumental" (Boston Globe), "one of the major works of philosophy in our century" (Nous), "wise and magisterial" (Times Literary Supplement), and a "masterpiece of critical thinking [that] is a timely, eloquent, and scrupulous account of what, after all, still makes the world go round" (Christian Science Monitor). In the second volume, Singer studies the ideas and ideals of medieval courtly love and nineteenth-century Romantic love, as well as the transition between these two perspectives. According to the traditions of courtly love in the twelfth century and thereafter, not only God but also human beings in themselves are capable of authentic love. The pursuit of love between man and woman was seen as a splendid ideal that ennobles both the lover and the beloved. It was something more than libidinal sexuality and involved sophisticated and highly refined courtliness that emulated religious love in its ability to create a holy union between the participants. Adherents to Romantic love in later centuries, affirmed the capacity of love to effect a merging between two people who thus became one. Singer analyzes the transition from courtly to Romantic by reference to the writings of many artists beginning with Dante and ending with Richard Wagner, as well as Neoplatonist philosophers of the Italian Renaissance, Descartes, Spinoza, Rousseau, Hume, Kant, Hegel, and Schopenhauer. In relation to romanticism itself, he distinguishes between two aspects—"benign romanticism" and "Romantic pessimism"—that took on renewed importance in the twentieth century.
Much like the book of Revelation, Joel L. Watts' Praying in God's Theater aims to pull readers into a deeper spirituality to confront the daily struggles of Christian life. Drawing from the rich well of Christian mystics and theologians from across the ecumenical experience, Watts uses the Apocalypse to build a series of prayers and devotions aimed at increasing what he identifies as the contemplative unity and the certain unity between the individual and Christ. He urges a radical vision of the prayer and the sacrament of the Eucharist. Each chapter of Revelation is considered, explored, and finally used as a basis to draft prayers. Added to this is an application commentary that explores ancient liturgical practices similar to the scenes in Revelation while looking at Revelation in a mystical manner. Watts offers Revelation as an early liturgy, using this proposition as a catalyst for building prayers and a vision of life based on the Eucharist as the emblem of how we are to approach God. What emerges is a profound view on how we envision Scripture, prayer, and the book of Revelation.
This two-volume work examines far-reaching debates on the concept of courage from Greek antiquity to the Christian and mediaeval periods, as well as the modern era. Volume 1 begins with Homeric poetry and the politics of fearless demi-gods thriving on war. The tales of lion-hearted Heracles, Achilles, and Ulysses, and their tragic fall at the hands of fate, eventually give way to classical views of courage based on competing theories of rational wisdom and truth. Fears of the enemy and anxieties about suffering and death are addressed through the lenses and teachings of medicine, geography, military history, moral philosophy, and metaphysics. For early Christian thinkers, the ethics of fear, fate, and fealty to the Almighty supplant the voice of reason and the wisdom of virtue. Much of Christian doctrine's history is a long journey towards bridging the gap between Greek philosophy and devotion to God and spirits in heaven. Some Church Fathers attempt to dispel the fear of suffering through a joyful craving for martyrdom and the eternal blessings that follow. Others show openness to one or more of the following principles: the abstractions of moral philosophy, the metaphysics of Gnostic enlightenment, the gift of free will and intentionality, the growth of church authority and hegemony, and the intrinsic worth of life on Earth. Augustine, Ambrose, Cassian, and Chrysostom play a central role in revisiting the foundations of Christian fortitude along some or all of these lines. They lay the groundwork for the scholastic adaptations of faith-based rationalism proposed by Peter Lombard, Philip the Chancellor, Albert the Great, and Thomas of Aquinas. The mediaeval period ends with church dissidents and Protestant Reform leaders condemning Rome’s corruption and calling for a return to early Christian faith and the courage of godly fear, submission, suffering, and fate.
Victorian England: a Jesuit priest writes of wrestling with God at night, limbs entangled; an Anglican sister begs Jesus, her divine lover, to end her aching anticipation of their union; a clergyman exhorts nuns to study the example of medieval women who suffered on the rack in order to become "brides" of Christ. Alongside the march of nineteenth-century progress ran a seemingly paradoxical fascination with a dark, erotically suggestive side of religious devotion: the figuration of the Christian God as a heavenly bridegroom who doles out punishment to his bride, the individual soul. Through innovative case studies of Victorian religious poetry, Amanda Paxton reveals that while the punitive model proved a convenient rhetorical tool with which to deflate burgeoning nineteenth-century campaigns for women’s rights and challenges to Church authority, in the hands of several writers it also provided a means of resisting patriarchal institutions and interrogating distinctions between science and religion. Willful Submission is the first full-length volume to examine the interplay of sex, suffering, and religion as a touchstone in Victorian culture and verse.
This book represents a study of Evelyn Underhill’s premier work on mysticism, using Hegel’s dialectics and Kant’s theory of the sublime as interpretive tools. It especially focuses on two prominent features of Underhill’s text: the description of the mystical life as one permeated by an intense love between the mystic and infinite reality, and the detailed delineation of stages of mystical development. Given these two features, the text lends itself to a construction of a valuable discourse predicated on dialecticism, sublimity, and mysticism. The book also articulates a number of insights into the content and nature of the writings of Christian mystics.
Each of the figures examined in this study”John Dee, John Donne, Sir Kenelm Digby, Henry and Thomas Vaughan, and Jane Lead”is concerned with the ways in which God can be approached or experienced. Michael Martin analyzes the ways in which the encounter with God is figured among these early modern writers who inhabit the shared cultural space of poets and preachers, mystics and scientists. The three main themes that inform this study are Cura animarum, the care of souls, and the diminished role of spiritual direction in post-Reformation religious life; the rise of scientific rationality; and the struggle against the disappearance of the Holy. Arising from the methods and commitments of phenomenology, the primary mode of inquiry of this study resides in contemplation, not in a religious sense, but in the realm of perception, attendance, and acceptance. Martin portrays figures such as Dee, Digby, and Thomas Vaughan not as the eccentrics they are often depicted to have been, but rather as participating in a religious mainstream that had been radically altered by the disappearance of any kind of mandatory or regular spiritual direction, a problem which was further complicated and exacerbated by the rise of science. Thus this study contributes to a reconfiguration of our notion of what ’religious orthodoxy’ really meant during the period, and calls into question our own assumptions about what is (or was) ’orthodox’ and ’heterodox.’
An Irish quarterly review.