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Mystical Delights Through the Senses is a book of poems intended to evoke the mystical attributes hidden in our inner being to break forth into our experiential domain. The very inputs for this process are the perception of beauty and grandeur in the world around us and in the Cosmos through our senses. Poetry is the engine through which the mundane inputs the author receives is translated into a medium of emotional transformation. The kaleidoscope of dimensions from which the poems have originated provides rich content for different readers to maximize their reading pleasure. To break the seriousness of reading these thought-provoking verses, a few limericks have also been penned. While the journeys of the author in gathering these experiences have been physical, virtual and mystical, the reader is privileged to experience pleasurable emotions from the comfort of his or her armchair.
A landmark account of the work, thought, and life of the seventeenth-century French painter In this book, Anthony Blunt presents a rich account of the paintings, life, and development of the great seventeenth-century French classicist Nicolas Poussin (1594–1665), addressing the artist’s entire oeuvre alongside his theory of art. Blunt shows why Poussin holds a central place in the great French humanist line that produced Racine, Molière, Voltaire, the Parnassians, and Mallarmé. At the same time, he examines how Poussin looks back to Raphael and ancient Rome, while pointing forward to Ingres, Cézanne, the Cubists, and Picasso.
In this compelling study of two seventeenth-century female mystics, Bo Karen Lee examines the writings of Anna Maria van Schurman and Madame Jeanne Guyon, who, despite different religious formations, came to similar conclusions about the experience of God in contemplative prayer. Van Schurman was born into a Dutch Calvinist family and became a superb scriptural commentator before undergoing a dramatic religious conversion and joining the Labadist community, a Pietistic movement. Guyon was a French layperson whose thought would be identified with Quietism—a spiritual path that was looked upon with suspicion both by the French Catholic Church and by Rome. Lee analyzes and compares the themes of self-denial and self-annihilation in the writings of these two mystics. In van Schurman's case, the focus is on the distinction between scholastic knowledge of God and the intima notitia Dei accessible only by radical self-denial. In Guyon's case, it is on the union with God that is accessible only through a painful self-annihilation. For both authors, Lee demonstrates that the desire for enjoyment of God plays an important role as the engine of the soul's progress away from self-centeredness. The appendices offer facing Latin and English translations of two letters by van Schurman and a selection from her Eukleria.
Here are the writings of the man who was the great link between the early Christian mystics and the mystical awakening in medieval Europe. Richard (?-1173) was born in Scotland and joined the Abbey of St. Victor in Paris, where he became Superior and Prior.
In 'Twilight in Italy', D.H. Lawrence offers a collection of short travel essays that provide insight into the author's complex worldview. Written during the First World War, Lawrence's work is haunted by the mechanized death that defined the conflict, infusing his musings on national character, religion, and philosophy with a fascination with mortality. Through evocative essays such as 'The Crucifix Across the Mountains' and 'The Lemon Gardens', Lawrence offers a vivid portrait of Italy and its people.
At thirty-five Mary Agreda began her Mystical City of God, which was the fruit of her daily meditations and rapt states of contemplation. When this work appeared it was hailed with almost unanimous applause by the bishops of Spain. The Spanish Inquisition, always rigid in its censorship, regarded it as almost, if not wholly, of divine revelation. The Sorbonne at Paris held thirty-two stances, in which five hundred and fifty doctors discussed its merits, but finally condemned it with true national hostility to Spain. At Rome it was indeed placed on the Index, but was removed shortly after by command of the pope himself, some say at the solicitation of the King of Spain. Though no formal approbation has ever been given to the work, Pope Alexander VIII. authorized its circulation, and Clement IX. forbade its being placed on the Index. Its discussion, however, has delayed the process for the canonization of its author, though no one ever doubted her sincerity, her earnest convictions, and the saintliness of her character. In it she displays a mind thoroughly imbued with the religious spirit, and, though without education, strictly speaking, shows a knowledge of Scripture, a depth of theological learning, and a correctness of scholastic terms that are truly surprising. The style is dignified, and yet easy; and some of her descriptions have a certain grandeur, as in the Passion, where Satan and his angels are represented as following Christ to Mount Calvary bound in chains, forced to become witnesses of his sufferings and death, and smitten to the ground at the moment of the Consummatum est. This is volume two out of four.
First Published in 2002. This book is about the way medieval authors wrote about union with God and how they used language that refers to the senses to articulate their ideas about how a person can be one with God. Rudy argues that such explicit concepts of the spiritual senses are not sharply distinct from the ideas implicit in broader usage of sensory language in theological writings. These ideas are significant in the history of Christian mysticism, because language that refers to the senses bears directly on several ideas that are central to ideas about union with God.