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An exciting debut collection of original poems and translations from Old English An exciting debut collection of original poems and translations from Old English, The Unstill Ones takes readers into a timeless, shadow-filled world where new poems sound ancient, and ancient poems sound new. Award-winning scholar-poet Miller Oberman’s startlingly fresh translations of well-known and less familiar Old English poems often move between archaic and contemporary diction, while his original poems frequently draw on a compressed, tactile Old English lexicon and the powerful formal qualities of medieval verse. Shaped by Oberman’s scholarly training in poetry, medieval language, translation, and queer theory, these remarkable poems explore sites of damage and transformation, both new and ancient. “Wulf and Eadwacer,” a radical new translation of a thousand-year-old lyric, merges scholarly practice with a queer- and feminist-inspired rendering, while original poems such as “On Trans” draw lyrical connections between multiple processes of change and boundary crossing, from translation to transgender identity. Richly combining scholarly rigor, a finely tuned contemporary aesthetic, and an inventiveness that springs from a deep knowledge of the earliest forms of English, The Unstill Ones marks the emergence of a major new voice in poetry.
In the ethereal realm where prose dances with poetry, Swami Vivekananda's masterpiece, "Writings: Prose and Poems (Original and Translated)," emerges as a celestial symphony of profound wisdom and lyrical beauty. With an economy of words and an abundance of insight, this extraordinary collection invites readers on an introspective journey, traversing the vast landscapes of human existence. He transcends linguistic boundaries, capturing the essence of emotions and experiences that resonate universally. This literary masterpiece is a testament to Vivekananda's remarkable intellect and his ability to infuse spirituality into the written word. Writings: Prose and Poems serves as an inexhaustible wellspring of inspiration, beckoning readers to embark on an inner odyssey, where the boundaries of the self dissolve, and the essence of existence unfolds in all its splendor.
The ancient Greek hymnic tradition translated beautifully and accessibly. The hymn—as poetry, as craft, as a tool for worship and philosophy—was a vital art form throughout antiquity. Although the Homeric Hymns have long been popular, other equally important collections have not been readily accessible to students eager to learn about ancient poetry. In reading hymns, we also gain valuable insight into life in the classical world. In this collection, early Homeric Hymns of uncertain authorship appear along with the carefully wrought hymns of the great Hellenistic poet and courtier Callimachus; the mystical writings attributed to the legendary poet Orpheus, written as Christianity was taking over the ancient world; and finally, the hymns of Proclus, the last great pagan philosopher of antiquity, from the fifth century AD, whose intellectual influence throughout western culture has been profound. Greek Poems to the Gods distills over a thousand years of the ancient Greek hymnic tradition into a single volume. Acclaimed translator Barry B. Powell brings these fabulous texts to life in English, hewing closely to the poetic beauty of the original Greek. His superb introductions and notes give readers essential context, making the hymns as accessible to a beginner approaching them for the first time as to an advanced student continuing to explore their secrets. Brilliant illustrations from ancient art enliven and enrichen the experience of reading these poems.
The Homeric Hymns have survived for two and a half millennia because of their captivating stories, beautiful language, and religious significance. Well before the advent of writing in Greece, they were performed by traveling bards at religious events, competitions, banquets, and festivals. These thirty-four poems invoking and celebrating the gods of ancient Greece raise questions that humanity still struggles with—questions about our place among others and in the world. Known as "Homeric" because they were composed in the same meter, dialect, and style as Homer’s Iliad and Odyssey, these hymns were created to be sung aloud. In this superb translation by Diane J. Rayor, which deftly combines accuracy and poetry, the ancient music of the hymns comes alive for the modern reader. Here is the birth of Apollo, god of prophecy, healing, and music and founder of Delphi, the most famous oracular shrine in ancient Greece. Here is Zeus, inflicting upon Aphrodite her own mighty power to cause gods to mate with humans, and here is Demeter rescuing her daughter Persephone from the underworld and initiating the rites of the Eleusinian Mysteries. This updated edition incorporates twenty-eight new lines in the first Hymn to Dionysos, along with expanded notes, a new preface, and an enhanced bibliography. With her introduction and notes, Rayor places the hymns in their historical and aesthetic context, providing the information needed to read, interpret, and fully appreciate these literary windows on an ancient world. As introductions to the Greek gods, entrancing stories, exquisite poetry, and early literary records of key religious rituals and sites, the Homeric Hymns should be read by any student of mythology, classical literature, ancient religion, women in antiquity, or the Greek language.
Roman Catholic church music in England served the needs of a vigorous, vibrant and multi-faceted community that grew from about 70,000 to 1.7 million people during the long nineteenth century. Contemporary literature of all kinds abounds, along with numerous collections of sheet music, some running to hundreds, occasionally even thousands, of separate pieces, many of which have since been forgotten. Apart from compositions in the latest Classical Viennese styles and their successors, much of the music performed constituted a revival or imitation of older musical genres, especially plainchant and Renaissance Polyphony. Furthermore, many pieces that had originally been intended to be performed by professional musicians for the benefit of privileged royal, aristocratic or high ecclesiastical elites were repackaged for rendition by amateurs before largely working or lower middle class congregations, many of them Irish. However, outside Catholic circles, little attention has been paid to this subject. Consequently, the achievements and widespread popularity of many composers (such as Joseph Egbert Turner, Henry George Nixon or John Richardson) within the English Catholic community have passed largely unnoticed. Worse still, much of the evidence is rapidly disappearing, partly because it no longer seems relevant to the needs of the modern Catholic Church in England. This book provides a framework of the main aspects of Catholic church music in this period, showing how and why it developed in the way it did. Dr Muir sets the music in its historical, liturgical and legal context, pointing to the ways in which the music itself can be used as evidence to throw light on the changing character of English Catholicism. As a result the book will appeal not only to scholars and students working in the field, but also to church musicians, liturgists, historians, ecclesiastics and other interested Catholic and non-Catholic parties.