Pastoral Literature Quotes

My Love wakes in a puddle of sunlight. Her hands asleep beside her. Her hair draped on the lawn like a mantle of cloth. I give her my life for our love is whole I sing her beauty in my soul.

She would go off in the morning with the punt full of books, and spend long glorious days away in the forest lying on the green springy carpet of whortleberries, reading. She would most diligently work at furnishing her empty mind. She would sternly endeavour to train it not to jump.

[...] ero una biografia in moto perpetuo, memoria sino al midollo delle ossa.

[...] è la mancanza di rabbia che finisce per uccidere. Mentre l'aggressività depura e guarisce.

I am that poet who in times past made the light melody of pastoral poetry. In my next poem I left the woods for the adjacent farmlands, teaching them to obey even the most exacting tillers of the soil; and the farmers liked my work. But now I turn to the terrible strife of Mars.

L’immagine che abbiamo l’uno dell’altro. Strati e strati d’incomprensione. L’immagine che abbiamo di noi stessi. Vana. Presuntuosa. Completamente distorta. Ma noi tiriamo dritto e viviamo di queste immagini. «Lei è così, lui è così, io sono così. È andata così per questi motivi…» Basta.

Sembrava non capire o, anche in un momento di stanchezza, non ammettere che avere dei limiti non era poi una cosa così vergognosa, e che lui stesso non era una casa di pietra di centosettant'anni, il cui peso gravasse su imperturbabili travi di quercia: che era, insomma, qualcosa di più transitorio e misterioso.

Can one understand the presence of English literature without the absences of Irish literature? Are the presences in the former, at some level, bites taken out of the latter? Is England gardenlike because Ireland was prisonlike? Does the English pastoral, and the security and abundance it represents, depend on the impoverished land and people of other lands?

Nessuno passa attraverso la tristezza, il dolore, la confusione e la perdita senza restare segnato in qualche modo.

Sì, siamo soli, profondamente soli, e in serbo per noi, sempre, c’è uno strato di solitudine ancora più profondo. Non c’è nulla che possiamo fare per liberarcene. No, la solitudine non dovrebbe stupirci, per sorprendente che possa essere farne l’esperienza. Puoi cercare di tirar fuori tutto quello che hai dentro, ma allora non sarai altro che questo: vuoto e solo anziché pieno e solo.

Theophilus and his co-pastor had tried to shut down the first public library that opened in Shelburne, Massachusetts. It was introducing “improper literature,”12 and the preachers did not believe that churchgoers should risk their souls—or indeed their minds.

For similar reasons, one common cause of committal to an asylum in Elizabeth’s time was “novel reading.”9 Doctors believed that those who indulged in this “pernicious habit”10 lived “a dreamy kind of existence, so nearly allied to insanity that the slightest exciting cause is sufficient to derange.”11 No wonder Theophilus and his co-pastor had tried to shut down the first public library that opened in Shelburne, Massachusetts. It was introducing “improper literature,”12 and the preachers did not believe that churchgoers should risk their souls—or indeed their minds.

Era caduto dal suo modesto trono di re pastore fin giù, negli abissi melmosi di Siddim; ma gli erano rimaste una calma dignitosa che non aveva mai conosciuto prima e quell'indifferenza al destino che, benché spesso faccia dell'uomo un violento, diversamente è la base della sua sublimazione. Insomma, la sua caduta in basso era diventata un'ascesa, la perdita un guadagno.

Pastor Bates was a careful reader of theology, literature and history. He delighted especially in Gibbon's woeful treatment of Christians in The Decline and Fall of the Roman Empire, perusing the fifteenth and sixteenth chapters routinely and with glee. He enjoyed brilliant heretics as only the confidently faithful can, seeing in Gibbon the inspired rantings of a cheerleader working himself into a frenzy for a losing team, getting especially rabid come the dreaded fourth quarter, when Jesus begins running up the score.

Ciò che lui trovava stupefacente era il modo in cui gli uomini sembravano esaurire la propria essenza – esaurire la materia, qualunque fosse, che li rendeva quello che erano – e, svuotati di se stessi, trasformarsi nelle persone di cui un tempo avrebbero avuto pietà. Era come se, mentre la loro vita era ricca e piena, essi fossero, in segreto, stufi di se stessi e non vedessero l’ora di liberarsi del loro discernimento, della loro salute e di ogni senso delle proporzioni per passare all’altro io, il vero io: che era uno stronzo detestabile e completamente illuso. Era come se trovarsi in sintonia con la vita fosse qualcosa di accidentale che poteva capitare, certe volte, ai giovani fortunati; mentre, per il resto, era una cosa con la quale gli essere umani non riuscivano a rapportarsi. Che strano.

Kessler depicts his developing intimacy with a handful of dairy goats and offers an enviable glimpse of the pastoral good life. Yet he also cautions, "Wherever the notion of paradise exists, so does the idea that it was lost. Paradise is always in the past." The title Goat Song is a literal rendering of the Greek word traghoudhia, tragedy. Reading it, I was reminded of Leo Marx's analysis of Thoreau's Walden. In The Machine in the Garden, Marx names Thoreau a tragic, if complex pastoralist. After failing to make an agrarian living raising beans for commercial trade (although his intent was always more allegorical than pecuniary), Thoreau ends Walden by replacing the pastoral idea where it originated: in literature. Paradise, Marx concludes, is not ultimately to be found at Walden Pond; it is to be found in the pages of Walden.

Leadership literature promotes envy with false promises. Casinos and lotteries encourage gambling with two messages: first, you, too, can win buckets of money, and, second, this is only possible if you gamble. Most gamblers and lottery ticket consumers do not win but lose. The truth is: “You can be a loser too.”12 When leadership books dwell on five-star generals, corporation executives, metropolis mayors, and megachurch CEOs, the implicit promise is like gambling: you can only win if you enter the game, and you, too, might hit the big time. But the majority of people, no matter how talented, motivated, and connected, will never be generals, executives, mayors, or megachurch pastors.

But humanistic learning is also an end in itself. It is simply better to have escaped one’s narrow, petty self and entered minds far more subtle and vast than one’s own than never to have done so. The Renaissance philosopher Marsilio Ficino said that a man lives as many millennia as are embraced by his knowledge of history. One could add: A man lives as many different lives as are embraced by his encounters with literature, music, and all the humanities and arts. These forms of expression allow us to see and feel things that we would otherwise never experience—society on a nineteenth-century Russian feudal estate, for example, or the perfect crystalline brooks and mossy shades of pastoral poetry, or the exquisite languor of a Chopin nocturne. Ultimately, humanistic study is the loving duty we owe those artists and thinkers whose works so transform us. It keeps them alive, as well as us, as Petrarch and Poggio Bracciolini understood. The academic narcissist, insensate to beauty and nobility, trapped in the diversity delusion, knows none of this. And as politics in Washington and elsewhere grows increasingly unmoored from reality, humanist wisdom provides us with one final consolation: There is no greater lesson from the past than the intractability of human folly.

His wife was dead, his career in the ministry finished. He was leaving theology and the pastoral office behind and setting out toward a goal he could not see but which he knew involved both literature and natural history. “Things seem flying to pieces,” Charles wrote Aunt Mary. Late in December 1832 the brig Jasper, 236 tons, cleared for Malta. There was a northeaster coming as Captain Ellis headed the ship, with Emerson aboard, out into the gray Atlantic swells. It was Christmas Day.7

Milton puts it most profoundly when he says, Well knows he who uses to consider, that our faith and knowledge thrives by exercise, as well as our limbs and complexion. Truth is compared in Scripture to a streaming fountain; if her waters flow not in a perpetual progression, they sicken into a muddy pool of conformity and tradition. A man may be a heretic in the truth; and if he believe things only because his pastor says so, or the Assembly so determines, without knowing other reason, though his belief be true, yet the very truth he holds becomes his heresy. In other words, the power of truth lies not in abstract propositions but in the understanding and willful application of truth by living, breathing persons which can occur only in the context of liberty.

Scripture is literature, period - nothing more, nothing less.

Why does every young church planter these days feel compelled to articulate a "mission statement" and a "vision statement," which will then be regularly rehearsed on stage, in videos, and in all the church's literature? If you had asked pastors for the first two thousand years of church history what their mission statement was, they would have looked confused by the question and then probably opened their Bibles and pointed to the last verses of Matthew 28.

during the years 1797–98. In the 1790s, revivals (led by Reformed pastors) also broke out in the Connecticut Valley in the United States. They became early manifestations of the so-called “Second Great Awakening” (late 1780s – early 1840s). This awakening encompassed multiple disparate elements: the widespread distribution of Christian literature; Reformed preaching in Connecticut by theological descendants of Jonathan Edwards; the faithful gospel witness of Methodist circuit riders; the occurrence of emotionally high-octane camp

It is not without good reason that the literary tradition of pastoral poetry can look back on an almost uninterrupted history of over two thousand years since its beginnings in Hellenism. With the exception of the early Middle Ages, when urban and court culture was extinguished, there have been variants of this poetry in every century. Apart from the thematic material of the novel of chivalry, there is probably no other subject-matter 15 that has occupied the literature of Western Europe for so long and maintained itself against the assaults of rationalism with such tenacity. This long and uninterrupted reign shows that ‘sentimental’ poetry, in Schiller’s sense of the word, plays an incomparably greater part in the history of literature than ‘naïve’ poetry. Even the idylls of Theocritus himself owe their existence not, as might be imagined, to genuine roots in nature and a direct relationship to the life of the common people, but to a reflective feeling for nature and a romantic conception of the common folk, that is, to sentiments which have their origin in a yearning for the remote, the strange and the exotic. The peasant and the shepherd are not enthusiastic about their surroundings or about their daily work. And interest in the life of the simple folk is, as we know, to be sought neither in spatial nor social proximity to the peasantry; it does not arise in the folk itself but in the higher classes, and not in the country but in the big towns and at the courts, in the midst of bustling life and an over-civilized, surfeited society. Even when Theocritus was writing his idylls, the pastoral theme and situation were certainly no longer a novelty; it will already have occurred in the poetry of the primitive pastoral peoples, but doubtless without the note of sentimentality and complacency, and probably also without attempting to describe the outward conditions of the shepherd’s life realistically. Pastoral scenes, although without the lyrical touch of the Idylls, were to be found before Theocritus, at any rate, in the mime. They are a matter of course in the satyr plays, and rural scenes are not unknown even to tragedy. But pastoral scenes and pictures of country life are not enough to produce bucolic poetry; the preconditions for this are, above all, the latent conflict of town and country and the feeling of discomfort with civilization.

In order to see Mr. and Mrs. Glegg at home, we must enter the town of St. Ogg’s — that venerable town with the red fluted roofs and the broad warehouse gables, where the black ships unlade themselves of their burthens from the far north, and carry away, in exchange, the precious inland products, the well-crushed cheese and the soft fleeces which my refined readers have doubtless become acquainted with through the medium of the best classic pastorals.

Alfred, however, went a step farther than Charlemagne. He encouraged the development of literature in the language of the people. He “wondered extremely that the good and wise men who were formerly all over England, and had learned perfectly all the books, did not wish to translate them into their own language.” So he himself translated into Anglo-Saxon Orosius’ History, Boethius’ Consolation of Philosophy, and Pope Gregory Pastoral Charge. The Anglo- Saxon Chronicle is the oldest historical work written in a modern language, if we may regard Anglo-Saxon as the first stage of the English language.

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My friends are on Animal Crossing and Club Penguin and have Nintendogs and Neopets and Tamagotchis and all of the simulated animals of 2008 and the US is in a financial crisis and I’m reading a book called TTYL by Lauren Myracle which is the pinnacle of literature as far as I’m concerned. The pastor tells me to read the Bible which is not written by Lauren Myracle. I imagine Noah’s Ark filled with Nintendogs.