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The Beggar (Part I) – The Greatest Enemy of the Spiritual Leader is comprised of daily meditations and prayers that enable the reader to beg and cry out more for mercy, especially divine intervention. Many of the prayers in these books often draw tears and can touch the psyche in a very profound way. Although these prayers are short reading, they are compact with very deep spiritual messages.
Contents include biographical notes about the author and the illustrator.
I Am the Beggar of the World presents an eye-opening collection of clandestine poems by Afghan women. Because my love's American, blisters blossom on my heart. Afghans revere poetry, particularly the high literary forms that derive from Persian or Arabic. But the poem above is a folk couplet—a landay, an ancient oral and anonymous form created by and for mostly illiterate people: the more than 20 million Pashtun women who span the border between Afghanistan and Pakistan. War, separation, homeland, love—these are the subjects of landays, which are brutal and spare, can be remixed like rap, and are powerful in that they make no attempts to be literary. From Facebook to drone strikes to the songs of the ancient caravans that first brought these poems to Afghanistan thousands of years ago, landays reflect contemporary Pashtun life and the impact of three decades of war. With the U.S. withdrawal in 2014 looming, these are the voices of protest most at risk of being lost when the Americans leave. After learning the story of a teenage girl who was forbidden to write poems and set herself on fire in protest, the poet Eliza Griswold and the photographer Seamus Murphy journeyed to Afghanistan to learn about these women and to collect their landays. The poems gathered in I Am the Beggar of the World express a collective rage, a lament, a filthy joke, a love of homeland, an aching longing, a call to arms, all of which belie any facile image of a Pashtun woman as nothing but a mute ghost beneath a blue burqa.
The second novel in Paullina Simons's stunning End of Forever saga continues the heartbreaking story of Julian and Josephine, and a love that spans lifetimes. Is there a fate beyond the fates? Julian has failed Josephine once. Despite grave danger and impossible odds, he is determined to do the unimaginable and try again to save the woman he loves. What follows is a love story like no other as the doomed lovers embark on an incredible adventure across time and space. Racing through history and against the merciless clock, they face countless dangers and deadly enemies. Living amid beauty and ecstasy, bloodshed and betrayal, each time they court and cheat death brings Julian and Josephine closer to an unthinkable sacrifice and a confrontation with the harshest master of all…destiny.
The Beggar (Part II) – Bhakti Tirtha Swami offers a perspective on fear, love, true compassion, success, death, intimacy, and spiritual goals. The deeply penetrating reflections in the form of a personal dialogue with God remind the reader of the necessity to dedicate time to spiritual growth along with secular pursuits. Many of the prayers in these books often draw tears and can touch the psyche in a very profound way. Although these prayers are short reading, they are compact with very deep spiritual messages. Most importantly, the messages attempt to address each reader in his or her own individual spiritual struggles. These small books are not just meant for a single reading; rather, they can be read over and over again according to the particular struggles faced by each person on his or her spiritual journey.
Step into the gritty streets of eighteenth-century London with "The Beggar's Opera" by John Gay. Immerse yourself in a world of rogues, rakes, and highwaymen, in this satirical musical that shines a light on the underbelly of society. But amidst the chaos of the city's criminal underworld, what truths will be revealed? In "The Beggar's Opera," John Gay offers a biting critique of the social and political injustices of his time. Through witty dialogue, catchy songs, and memorable characters, he challenges the audience to confront their own notions of morality and justice. Are you ready to explore the seedy underbelly of London society? Will you dare to follow the exploits of Macheath and Polly Peachum as they navigate the pitfalls of love and betrayal? Experience the brilliance of John Gay's satire. Purchase "The Beggar's Opera" today and immerse yourself in a world of intrigue, deception, and dark humor.
This one act play is made available to all. It may be used freely to perform in any environment. No Royalties owed. You do not have to buy multiple copies to perform, copy this book. You may change lines and scenes. Please give credit to the original author as inspiration of the work.The elder Dumas, who wrote many successful plays, as well as the famous romances, said that all he needed for constructing a drama was "four boards, two actors, and a passion." What he meant by passion has been defined by a later French writer, Ferdinand Brunetière, as a conflict of wills. When two strong desires conflict and we wonder which is coming out ahead, we say that the situation is dramatic. This clash is clearly defined in any effective play, from the crude melodrama in which the forces are hero and villain with pistols, to such subtle conflicts, based on a man's misunderstanding of even his own motives and purposes.In comedy, and even in farce, struggle is clearly present. Here our sympathy is with people who engage in a not impossible combat—against rather obvious villains who can be unmasked, or against such public opinion or popular conventions as can be overset. The hold of an absurd bit of gossip upon stupid people is firm enough in "Spreading the News"; but fortunately it must yield to facts at last. The Queen and the Knave of Hearts are sufficiently clever, with the aid of the superb cookery of the Knave's wife, to do away with an ancient and solemnly reverenced law of Pompdebile's court.Again, in comedies as in mathematics, the problem is often solved by substitution. The soldier in Mr. Galsworthy's "The Sun" is able to find a satisfactory and apparently happy ending without achieving what he originally set out to gain. Or the play which does not end as the chief character wishes may still prove not too serious because, as in "Fame and the Poet," the situation is merely inconvenient and absurd rather than tragic. Now and then it is next to impossible to tell whether the ending is tragic or not. It is natural for us to desire a happy ending in stories, as we desire satisfying solutions of the problems in our own lives. And whenever the forces at work are such as make it true and possible, naturally this is the best ending for a story or a play. Where powerful and terrible influences have to be combated, only a poor dramatist will make use of mere chance, or compel his characters to do what such people really would not do, to bring about a factitious "happy ending." One of the best ways to understand these as real stage plays is through some sort of dramatization. This does not mean, however, that they need be produced with elaborate scenery and costumes, memorizing, and rehearsal; often the best understanding may be secured by quite informal reading in the class, with perhaps a hat and cloak and a lath sword or two for properties. With simply a clear space in the classroom for a stage, you and your imaginations can give all the performance necessary for realizing these plays very well indeed. Of course, you must clearly understand the lines and the play as a whole before you try to take a part, so that you can read simply and naturally, as you think the people in the story probably spoke. Some questions for discussion in the appendix may help you in talking the plays over in class or in reading them for yourself before you try to take a part. You will find it sometimes helps, also, to make a diagram or a colored sketch of the scene as the author describes it, or even a small model of the stage for a "dramatic museum" for your school. If you have not tried this, you do not know how much it helps in seeing plays of other times, like Shakespeare's or Molière's; and it is useful also for modern dramas. Such small stages can be used for puppet theatres as well. "The Knave of Hearts" is intended as a marionette play, and other dramas—Maeterlinck's and even Shakespeare's—have been given in this way with very interesting effects.
The date, the time, the place are obscure, but of what we can be certain is that the Beggar Poet is in no position to call himself a "noble person" or a "superior man." He lives his life as would a mendicant writer or a solitary seeker--one who has tasted love, joy, and the depths of human despair. Like most of us, really. In fashioning his life to the changes of the I Ching, each of the sixty-four hexagrams, he is faced with challenges and riddles, thresholds to broach, subtle variations of insight from which, by living through them sincerely and with an unrelenting gaze, he can be said to be living an evolving revelation of consciousness. Anyone who has taken time to turn the pages of the I Ching will realize that as well as discovering uplifting and spiritually profound moments, there are those we truly fear and spend our lives trying to avoid. Instead of trying to maintain constantly a higher spiritual eminence--a perfect sense of proportion--we come to know by experience, if Heaven wills and for only brief interludes in an otherwise fulfilling life, its opposite, making our luminous spiritual flights all the more poignant and precious.