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From a near death experience in 1967 I had many lingering questions. It's now fifty years in the future and I've finally come to peace, with understanding, of my personal life's journey. I always knew in my heart, the joy and amazement I felt in that brief moment of time. My passion now is to share it to all from the perspective, of no doubt. I'm not the author of this book of poems. My Higher Power is. My work was to awake from my sleep with his thoughts flowing through my mind. I always had ten sharpened pencils and a clip board at the ready. He kept me pretty busy for months before sunrise. The end result was my awakening, and understanding of Apostle Paul's, "Much More Grace". So what caught my eye and kept me up at night? Four little verses. (1) For as in Adam all die, "even so", in Christ shall all be made alive. 1Corththians 15:22 (2), Therefore as by the offense of "one" judgment came unto "all" men to condemnation; "even so", by the righteousness of the "one" free gift came unto "all" men unto justification of life. Romans 5:18 (Notice the two "even so's" in these previous verses?) These are reciprocals 100% or scriptures you've bent. Like an hour glass of sand, all has to filter down, before, you flip again. All that died in Adam, are the same all, made alive in Christ! (3) Moreover the law entered, that the offense might abound. But where sin abounded, Grace did "Much More" abound. Romans 5:20 (4) What shall we say then? Shall we continue in sin, that Grace may abound? Romans 6:1 Do you see, the 180 turn around? See the opposite spin? Now everyone wins! The new spin! Where sin abounds, Grace will always abound "Much More"! Why, "Grace is always Much More" in Poetic Reconciliation.
Readers of Old English would generally agree that the poem Genesis B, a translation into Old English of an Old Saxon (that is, continental) retelling of the story of the Fall, is a vigorous and moving narrative. They would disagree, however, as to the meaning of the poem. Some hold that it reflects an orthodox Christian viewpoint and others claim that it assumes a distinctly unorthodox position in portraying Adam and Eve as not morally culpable in their disobedience but merely tricked into disobedience through the wiles of the Devil's agent. The study Genesis B and the Comedic Imperative, examining these incompatible readings, infers that the poem is essentially orthodox, that it demonstrates sufficiently the moral culpability of Adam and Eve, and that it departs from orthodoxy only insofar as it conveys a strong impression that Adam and Even will undertake what amounts to Christian penance, leading them eventually to Heaven. The poem thereby attains the happy ending typical of early medieval Christian narrative. Hence the titular "Comedic Imperative." The inference of orthodoxy follows as a nigh-inevitable conclusion of the interpretation of several motifs: the poem's culturally imbued martiality, its allegorical bent, and also what A. N. Doane noted as its tropological bent. The argument depends heavily upon philological inquiry and on examination of prevailing beliefs and attitudes of contemporaneous Frankish society, religious and civil, leading to the reinterpretation of crucial passages. Of these, most notably, is the passage in which Adam, in refusing the Tempter's invitation to eat the fruit, observes that the Tempter has given no tacen ‘sign’ as evidence that he truly is God’s emissary. Other passages that have impeded critical perception of the poem's significance are also examined, such as the notorious micel wundor clause (lines 595-98) and the pseudo-gnomic declaration swa hire eaforan sculon after lybban (623-35). In sum, Genesis B sustains the orthodoxy otherwise of the Junius 11 manuscript.
George Herbert, in his poetic skill and the depth of the spiritual experiences he explores, may be the greatest of all religious poets. This is a study of the specific religious experiences and beliefs that Herbert writes about, both in his poetry and in his prose. As such, it also examines the spiritual landscape of seventeenth-century England, a period, for all of its controversies, still dominated by the understanding of God and the human condition articulated by Martin Luther and systematized by John Calvin. Reformation spirituality, which was different both from medieval Catholicism and late Protestantism, is itself little understood by literary historians, who have tended to look to medieval or Counter-Reformation ideas and practices or to a simplistic distinction between "Anglicans" and "Puritans" as ways of understanding the religion of the time. This study presents Reformation spirituality phenomenologically, from the inside. Just as Reformation spirituality reflects Herbert's poetry, Herbert's poetry illuminates Reformation spirituality, showing the experiential and mystical dimensions of an important religious tradition.
This book is made up of a collection of texts unavailable in one volume until now, including six previously untranslated essays, from a major theologian of the twentieth century. Rahner's numerous writings focused on the revelation of God as mystery in the world and on the human being who has an essential openness towards the transcendent. His articles reveal an empathy and a depth of insight into the relationship between theology, faith and the arts which are remarkable and may take the reader by surprise. More recently, Rahner's contribution to the growing field of theology and the arts has been recognised by leading theologians on this subject. He asserts that theology must integrate the verbal and non-verbal arts as they are authentic means of human self-expression, of religious experience, and of God's self-communication; and therefore they are essential sources of theology. Rahner argues that theology, understood as a person's 'reflexive self-expression' about him- or herself 'in the light of divine revelation', cannot be regarded as complete until 'the arts become an intrinsic moment of theology itself'.
For those in the church and alongside it who remain dissatisfied with simplistic language and shallow spirituality, Hopeful Realism, reclaims the poetry of theology while skillfully addressing the religious and social concerns of the Christian faith.