Verse Image Quotes

My blood was in a ferment within me, my heart was full of longing, sweetly and foolishly; I was all expectancy and wonder; I was tremulous and waiting; my fancy fluttered and circled about the same images like martins round a bell-tower at dawn; I dreamed and was sad and sometimes cried. But through the tears and the melancholy, inspired by the music of verse or the beauty of the evening, there always rose upwards, like the grasses of early spring, shoots of happy feeling, of young and surging life.

So the film was a kind of lie, because by existing it said: 'Observe the lengths we'll go to for your security. We'll even make you a movie about it.' Style instead of substance, the image instead of the reality

Friend who has fired the kingfishers and flamed the dragonflies – they catch your light however they move and beam it out of their eyes.

The image of a wood has appeared often enough in English verse. It has indeed appeared so often that it has gathered a good deal of verse into itself; so that it has become a great forest where, with long leagues of changing green between them, strange episodes of poetry have taken place. Thus in one part there are lovers of a midsummer night, or by day a duke and his followers, and in another men behind branches so that the wood seems moving, and in another a girl separated from her two lordly young brothers, and in another a poet listening to a nightingale but rather dreaming richly of the grand art than there exploring it, and there are other inhabitants, belonging even more closely to the wood, dryads, fairies, an enchanter's rout. The forest itself has different names in different tongues- Westermain, Arden, Birnam, Broceliande; and in places there are separate trees named, such as that on the outskirts against which a young Northern poet saw a spectral wanderer leaning, or, in the unexplored centre of which only rumours reach even poetry, Igdrasil of one myth, or the Trees of Knowledge and Life of another. So that indeed the whole earth seems to become this one enormous forest, and our longest and most stable civilizations are only clearings in the midst of it.

She had her image… and anything added to that would be mere verse-making. Something might come of it some day. In the meanwhile she had got her mood on to paper—and this is the release that all writers, even the feeblest, seek for as men seek for love; and, having found it, they doze off happily into dreams and trouble their hearts no further.

You cannot hear a poem without it changing you," she told me. "They heard it, and it colonized them. It inherited them and it inhabited them, its rhythms becoming part of the way that they thought; its images permanently transmuting their metaphors; its verses, its outlook, its aspirations becoming their lives. Within a generation their children would be born already knowing the poem, and, sooner rather than later, as these things go, there were no more children born. There was no need for them, not any longer. There was only a poem, which took flesh and walked and spread itself across the vastness of the known.

Each of us is made in the image of God. We are told He individually forms us, knitting us, to borrow from the verse you just read. He determines what color of eyes we’ll have, when we’ll say our first and last words, and when we’ll take our first and final steps. A baby is a human being even in the womb, milady.

I remember the room. How it burned because Lan sung of fire, surrounded by her daughters. Smoke rising and collecting in the corners. The table in the middle a bright blaze. The women with their eyes closed and the words relentless. The walls a moving screen of images flashing as each verse descended to the next: a sunlit intersection in a city no longer there. A city with no name. A white man standing beside a tank with his black-haired daughter in his arms. A family sleeping in a bomb crater. A family hiding underneath a table. Do you understand? All I was given was a table. A table in lieu of a house. A table in lieu of history.

Then the soul, freed from vice, purged by studies of true philosophy, versed in spiritual life, and practised in matters of the intellect, devoted to the contemplation of her own substance, as if awakened from deepest sleep, opens those eyes which all possess but few use, and sees in herself a ray of that light which is the true image of the angelic beauty communicated to her, and of which she then communicates a faint shadow to the body.

Carried by light, images remain while sensation is so evanescent as to be always beyond belief.

In these written tears alone have I expiated the hardness and ingratitude of my heart of eighteen years. I can never read over these verses without adoring that youthful image which the transparent and plaintive waves of the Gulf of Naples will ever bring to me,—nor without hating myself. But souls above forgive. Hers has forgiven me. Forgive me, too, reader, for I have wept.

You cannot hear a poem without it changing you," she told me. "They heard it, and it colonized them. It inherited them, its rhythms becoming part of the way that they thought; its images permanently transmuting their metaphors; its verses; its outlook; its aspirations becoming their lives.

I am looking at him, I am witnessing a unique physiological phenomenon: John Shade perceiving and transforming the world, taking it in and taking it apart, re-combining its elements in the very process of storing them up so as to produce at some unspecified date an organic miracle, a fusion of image and music, a line of verse.

It may be that those who care for poetry lost little by his death. Fluent in prose, he never wrote verse for the sake of making a poem. When a refrain of image haunted him, the lyric that resulted was the inspiration, as he himself said, of a passion, not of a purpose.

Yes, a poem, a painting, can draw the sting of troubles from a troubled world and lay in its place a blessed realm before our grateful eyes. Music and sculpture will do likewise. Yet strictly speaking, in fact, there is no need to present this world in art. You have only to conjure the world up before you, and there you will find a living poem, a fount of song. No need to commit your thoughts to paper—the heart will already sing with a sweet inner euphony. No need to stand before your easel and limn with brush and paint—the world’s vast array of forms and colors already sparkles within the inner eye. It is enough simply to be able thus to view the place we live, and to garner with the camera of the sentient heart these pure, limpid images from the midst of our sullied world. And so even if no verse ever emerges from the mute poet, even if the painter never sets brush to canvas, he is happier than the wealthiest of men, happier than any strong-armed emperor or pampered child of this vulgar world of ours—for he can view human life with an artist’s eye; he is released from the world’s illusory sufferings; he is able to come and go at ease in a realm of transcendent purity, to construct a unique universe of art, and thereby to destroy the binding fetters of self-interest and desire.

When the opening verses of Genesis say that we were created in the image and likeness of God, it is helpful to remember that this means we are actually created in the image and likeness of LOVE. We were created by love. We were created to receive love. We were created to reflect love. Our entire purpose for existing is to love.

and then a Teixcalaanlitzlim of a gender Mahit didn’t recognize, and then it was back to the initial challenger—who changed the game again, adding another element: now each quatrain had to start with the last line of the previous one, be in dactylic verse with a vowel-repeated caesura, and be on the subject of repairs made to City infrastructure. Three Seagrass was annoyingly good at describing repairs to City infrastructure. She was lucid even through many glasses of ahachotiya, laughing, saying lines like the grout seal around the reflecting pool / lapped smooth and clear-white by the tongues of a thousand Teixcalaanli feet / nevertheless frays granular and impermanent / and will be spoken again, remade in the image / of one department or another / clamoring,

In my tradition, God revealed Himself in words and lives in stories and, no, you cannot touch or even see Him. The Word, in Judaism, was never made flesh. The closest God came to embodiment was in the Temple in Jerusalem...But the Temple was destroyed. In Judaism, the flesh became words. Words were the traditional refuge of the Jewish people - Yochanan ben Zakkai led a yeshiva, my father became a professor. And little boys, in the Middle Ages, ate cakes with verses inscribed on them, an image I find deeply moving and, somehow, deeply depressing. This might help explain a certain melancholy quality books in general, for all their bright allure, have always had for me. As many times as I went down to my parents' library for comfort, I would find myself standing in front of the books and could almost feel them turning back into trees, failing me somehow.

Just as we saw in Genesis 1, there are hints in Genesis 3 that Eden is home to other divine beings. In verse 22, after Adam and Eve have sinned, God says: “Behold, the man has become like one of us in knowing good and evil” (emphasis added). That phrase is the same sort of signpost we saw in Genesis 1:26 (“our image”).

I am looking at him, I am witnessing a unique physiological phenomenon: John Shade perceiving and transforming the world, taking it in and taking it apart, recombining its elements in the very process of storing them up so as to produce at some unspecified date an organic miracle, a fusion of image and music, a line of verse.

I am looking at him, I am witnessing a unique physiological phenomenon: John Shade perceiving and transforming the world, taking it in and taking it apart, recombining its elements in the very process of storing them up so as to produce at some unspecified date an organic miracle, a fusion of image and music, a line of verse.

He is a Londoner, too, in his writings. In his familiar letters he displays a rambling urban vivacity, a tendency to to veer off the point and to muddle his syntax. He had a brilliantly eclectic mind, picking up words and images while at the same time forging them in new and unexpected combinations. He conceived several ideas all at once, and sometimes forgot to separate them into their component parts. This was true of his lectures, too, in which brilliant perceptions were scattered in a wilderness of words. As he wrote on another occasion, "The lake babbled not less, and the wind murmured not, nor the little fishes leaped for joy that their tormentor was not." This strangely contorted and convoluted style also characterizes his verses, most of which were appended as commentaries upon his paintings. Like Blake, whose prophetic books bring words and images in exalted combination, Turner wished to make a complete statement. Like Blake, he seemed to consider the poet's role as being in part prophetic. His was a voice calling in the wilderness, and, perhaps secretly, he had an elevated sense of his status and his vocation. And like Blake, too, he was often considered to be mad. He lacked, however, the poetic genius of Blake - compensated perhaps by the fact that by general agreement he is the greater artist.

THE METAPHYSICAL POETS Had we but world enough, and time, This coyness, lady, were no crime (Andrew Marvell, To His Coy Mistress) While theatre was the most public literary form of the period, poetry tended to be more personal, more private. Indeed, it was often published for only a limited circle of readers. This was true of Shakespeare's sonnets, as we have seen, and even more so for the Metaphysical poets, whose works were published mostly after their deaths. John Donne and George Herbert are the most significant of these poets. The term 'Metaphysical' was used to describe their work by the eighteenth-century critic, Samuel Johnson. He intended the adjective to be pejorative. He attacked the poets' lack of feeling, their learning, and the surprising range of images and comparisons they used. Donne and Herbert were certainly very innovative poets, but the term 'Metaphysical' is only a label, which is now used to describe the modern impact of their writing. After three centuries of neglect and disdain, the Metaphysical poets have come to be very highly regarded and have been influential in recent British poetry and criticism. They used contemporary scientific discoveries and theories, the topical debates on humanism, faith, and eternity, colloquial speech-based rhythms, and innovative verse forms, to examine the relationship between the individual, his God, and the universe. Their 'conceits', metaphors and images, paradoxes and intellectual complexity make the poems a constant challenge to the reader.

Some of the verse of Tennyson shows immense technical skill, is better than anything of Shelley or Swinburne.43 I cite Tennyson’s consummate skill to show that it is not merely a question of the slipshod, or of a degeneration of the ear. It is something deeper than that. It is a further stage in the disintegration of the intellect, the further separation of sound, image and thought.

Every year there was an important poetry contest at the fair of ‘Ukaz, just outside Mecca, and the winning poems were embroidered in gold on fine black cloth and hung on the walls of the Kabah. Muhammad’s followers would, therefore, have been able to pick up verbal signals in the text that are lost in translation. They found that themes, words, phrases, and sound patterns recurred again and again—like the variations in a piece of music, which subtly amplify the original melody, and add layer upon layer of complexity. The Qur’an was deliberately repetitive; its ideas, images, and stories were bound together by these internal echoes, which reinforced its central teaching with instructive shifts of emphasis. They linked passages that initially seemed separate, and integrated the different strands of the text, as one verse delicately qualified and supplemented others. The Qur’an was not imparting factual information that could be conveyed instantaneously. Like Muhammad, listeners had to absorb its teachings slowly; their understanding would grow more profound and mature over time, and the rich, allusive language and rhythms of the Qur’an helped them to slow down their mental processes and enter a different mode of consciousness.

Melancholy Shakespearean passages provided him with relief. They offered structured, resonant versions of gloom. They organized sad topics and made them meaningful. Reciting dark writings aloud let him project his depression outward so that it was filtered through the improving lens of poetry. The rhythms and images of verse crystallized his private experience in a manner similar to the way his finest speeches crystallized and uplifted the national experience.

She blessed and thanked and praised those bright reflections shimmering down in the pool, and bade them tell her thanks and her praise to Orion, to whom she might not pray. It was thus that Alveric found her, kneeling, bent down in the dark, and reproached her bitterly. She was worshipping the stars, he said, which were there for no such purpose. And she said she was only supplicating their images. We may understand his feelings easily: the strangeness of her, her unexpected acts, her contrariness to all established things, her scorn for custom, her wayward ignorance, jarred on some treasured tradition every day. The more romantic she had been far away over the frontier, as told of by legend and song, the more difficult it was for her to fill any place once held by the ladies of that castle who were versed in all the lore of the fields we know. And Alveric looked for her to fulfil duties and follow customs which were all as new to her as the twinkling stars. But Lirazel felt only that the stars had not their due, and that custom or reason or whatever men set store by should demand that thanks be given them for their beauty; and she had not thanked them even, but had supplicated only their images in the pool. That night she thought of Elfland, where all things were matched with her beauty, where nothing changed and there were no strange customs, and no strange magnificences like these stars of ours to whom none gave their due.

You simply live your life in a wonderful way. Everything takes care of itself, and you notice that your consciousness is expanding. It began by thinking of yourself, and now it is expanding to take in the world, to take in the universe. And then you begin to see everything in this uni­verse as an image on the screen, and you are the screen. You never worry again. You never fear anything again. You understand the wholeness of everything, and there are no mistakes. All is well. Nothing is wrong. (p. 75)

If a man finds himself haunted by evil desires and unholy images, which will generally be at periodical hours, let him commit to memory passages of Scripture, or passages from the best writers in verse or prose. Let him store his mind with these, as safeguards to repeat when he lies awake in some restless night, or when despairing imaginations, or gloomy, suicidal thoughts, beset him. Let these be to him the sword, turning everywhere to keep the way of the Garden of Life from the intrusion of profaner footsteps.

We pick and choose our favorite verses while ignoring the texts we cannot comprehend or don’t particularly like. We rationalize the verses that are too radical. We scrub down the verses that are too supernatural. We put Scripture on the chopping block of human logic and end up with a neutered gospel. We commit intellectual idolatry, creating God in our image. So instead of living a life that resembles the supernatural standard set in Scripture, we follow an abridged version of the Bible that looks an awful lot like us.

How long does a building stand before it falls? How long does a contract last? How long will brothers share the inheritance before they quarrel? How long does hatred, for that matter, last? Time after time the river has risen and flooded. The insect leaves the cocoon to live but a minute. How long is the eye able to look at the sun? From the very beginning nothing at all has lasted. See how the dead and the sleeping resemble each other. Seen together, they are the image of death. The simple man and the ruler resemble each other. The face of the one will darken like that of the other.

In my opinion, for Baudelaire, the word vast is a vocal value. It is a word that is pronounced, never only read, never only seen in the objects to which it is attached. It is one of those words that a writer always speaks softly while he is writing it. Whether in verse or in prose, it has a poetic effect, which is also an effect of vocal poetry. This word immediately stands out from the words that surround it, from the images, and perhaps, even, from the thought. It is a "power of the word." Indeed, whenever we read this word in the measure of one of Baudelaire's verses, or in the periods of his prose poems, we have the impression that he forces us to pronounce it. The word vast, then, is a vocable of breath. It is placed on our breathing, which must be slow and calm. And the fact is that always, in Baudelaire's poetics, the word vast evokes calm, peace and serenity. It expresses a vital, intimate conviction. It transmits to our ears the echo of the secret recesses of our being. For this word bears the mark of gravity, it is the enemy of turmoil, opposed to the vocal exaggerations of declamation. In diction enslaved to strict measure, it would be shattered. The word vast must reign over the peaceful silence of being.

Exclusive emphasis on either the physical or the spiritual Whitman misses his determined intermingling of the two realms. His earliest notebook poem contained the lines, “I am the poet of the body / And I am the poet of the soul,” establishing at once the interpenetration and cross-fertilization between matter and spirit that is felt in virtually all his major poems. The earthly and the divine, the sensuous and the mystical, are never far from each other in his verse. His images flow rapidly from the minutiae of plant or animal life through parts of the human body to sweeping vistas of different times and places,

Girls, I was dead and down in the Underworld, a shade, a shadow of my former self, nowhen. It was a place where language stopped, a black full stop, a black hole Where the words had to come to an end. And end they did there, last words, famous or not. It suited me down to the ground. So imagine me there, unavailable, out of this world, then picture my face in that place of Eternal Repose, in the one place you’d think a girl would be safe from the kind of a man who follows her round writing poems, hovers about while she reads them, calls her His Muse, and once sulked for a night and a day because she remarked on his weakness for abstract nouns. Just picture my face when I heard - Ye Gods - a familiar knock-knock at Death’s door. Him. Big O. Larger than life. With his lyre and a poem to pitch, with me as the prize. Things were different back then. For the men, verse-wise, Big O was the boy. Legendary. The blurb on the back of his books claimed that animals, aardvark to zebra, flocked to his side when he sang, fish leapt in their shoals at the sound of his voice, even the mute, sullen stones at his feet wept wee, silver tears. Bollocks. (I’d done all the typing myself, I should know.) And given my time all over again, rest assured that I’d rather speak for myself than be Dearest, Beloved, Dark Lady, White Goddess etc., etc. In fact girls, I’d rather be dead. But the Gods are like publishers, usually male, and what you doubtless know of my tale is the deal. Orpheus strutted his stuff. The bloodless ghosts were in tears. Sisyphus sat on his rock for the first time in years. Tantalus was permitted a couple of beers. The woman in question could scarcely believe her ears. Like it or not, I must follow him back to our life - Eurydice, Orpheus’ wife - to be trapped in his images, metaphors, similes, octaves and sextets, quatrains and couplets, elegies, limericks, villanelles, histories, myths… He’d been told that he mustn’t look back or turn round, but walk steadily upwards, myself right behind him, out of the Underworld into the upper air that for me was the past. He’d been warned that one look would lose me for ever and ever. So we walked, we walked. Nobody talked. Girls, forget what you’ve read. It happened like this - I did everything in my power to make him look back. What did I have to do, I said, to make him see we were through? I was dead. Deceased. I was Resting in Peace. Passé. Late. Past my sell-by date… I stretched out my hand to touch him once on the back of the neck. Please let me stay. But already the light had saddened from purple to grey. It was an uphill schlep from death to life and with every step I willed him to turn. I was thinking of filching the poem out of his cloak, when inspiration finally struck. I stopped, thrilled. He was a yard in front. My voice shook when I spoke - Orpheus, your poem’s a masterpiece. I’d love to hear it again… He was smiling modestly, when he turned, when he turned and he looked at me. What else? I noticed he hadn’t shaved. I waved once and was gone. The dead are so talented. The living walk by the edge of a vast lake near, the wise, drowned silence of the dead.

One of the towering figures of the age of Enlightenment was Johann Wolfgang von Goethe, known to this day in German-speaking lands as the poet of princes and prince of poets. Unlike Voltaire, he openly practiced esoteric disciplines, particularly alchemy. He wrote a famous verse about the Cathars, which translated says: “There were those who knew the Father. What became of them? Oh, they took them and burned them!” Goethe's chief work, of course, is his Faust. As noted in chapter 8, the figure of Faust was inspired by the image of the early Gnostic teacher Simon Magus, one of whose honorific names was Faustus. While in Christopher Marlowe's sixteenth-century play,

In 40:31 he says to wait for God because God will renew their strength as they wait for Him. The word wait is the Hebrew word qavah, which means 'to bind together, to be joined, to meet, to expect, to be confident, trust, endure.' If we read this verse with all those definitions included, it would say, 'Those who are bound together with the Lord, joined with the Lord, who meet with the Lord, who confidently expect and trust and endure... will renew their strength.' The image here is more than just an expression of time; it's an expression of unity. It's about relationship--knowing Him, trusting His character. When we live in that space, He strengthens us for whatever we're enduring.

For Epimetheus, as these verses clearly show, Pandora has the value of a soul-image—she stands for his soul; hence her divine power, her unshakable supremacy. Whenever such attributes are conferred upon a personality, we may conclude with certainty that such a personality is a symbol-carrier, or an image of projected unconscious contents. For it is the contents of the unconscious that have the supreme power Goethe has described, incomparably characterized in the line: “Make her an offer and she’ll raise your bid.” In this line the peculiar emotional reinforcement of conscious contents by association with analogous contents of the unconscious is caught to perfection. This reinforcement has in it something daemonic and compelling, and thus has a “divine” or “devilish” effect.

The expected battle hadn’t taken place, yet something else had. Images of the entertainment which had just gone down were already coming back into Rat’s head. It had been wonderful to watch, unbelievably wonderful, the enactment of several plays at once on a single stage, and Rat was sorry it was over, but in a way it was even better to relive it now in the privacy of his mind. He hadn’t believed the boy-doctor and that stuff about the condom being used or warm, but he had gone along with it and the emotion which it powered. Everybody had. The emotion was the most important thing. He wondered how he could ever put such a chaotic, hilarious, sad thing down on paper, organise it into scenes or verses and fix his own pewiod at the end. He could never do it justice. He would never get that emotion back.

And the Lord God formed man from the dust of the ground and breathed into his nostrils the breath of life, and man became a living being” (2:7). When I heard that verse as a child, I imagined Adam lying on the ground, perfectly formed but not yet alive, with God leaning over him and performing a sort of mouth-to-mouth resuscitation. Now I picture that scene differently. I assume that Adam was already biologically alive—the other animals needed no special puff of oxygen, nitrogen, and carbon dioxide to start them breathing, so why should man? The breath of God now symbolizes for me a spiritual reality. I see Adam as alive, but possessing only an animal vitality. Then God breathes into him a new spirit, and infills him with His own image. Adam becomes a living soul, not just a living body. God’s image is not an arrangement of skin cells or a physical shape, but rather an inbreathed spirit.

SHOHAKU OKUMURA: In chapter 30, Sawaki Roshi and Uchiyama Roshi talked about people who chase external things and lose sight of themselves. In this chapter they discuss how one’s own opinion is not valid. On the surface, these two are contradictory. How can we seek ourselves without having our own opinion? When the Buddha, Sawaki Roshi, and Uchiyama Roshi talk about “self” they don’t mean the image of ourselves created within the framework of separation between I as subject and others as objects. In Harischandra Kaviratna’s translation of the Dhammapada, the Buddha says, “The self is the master of the self. Who else can that master be? With the self fully subdued, one obtains the sublime refuge, which is very difficult to achieve.” Self is master of the self, but the self still needs to be subdued. In the Japanese translation of this verse, “subdued” is more like “harmonized” or “well tuned.” In Genjokoan, Dogen said, “To study the Buddha way is to study the self. To study the self is to forget the self.” To study the self, we need to forget the self. In these sayings, self is not a fixed, permanent entity separate from other beings. Self is our body and mind, that is, a collection of the five aggregates: form, sensation, perception, formation, and consciousness. These aggregates are always changing, but somehow we create a fixed self-image based on our past experiences and relations with others. We grasp this image as I. This I is an illusion, yet we measure everything based on the tunnel vision of this fictitious self. When we see fiction as fiction, illusion as illusion, they can be useful. Although no map is reality itself, when we know how a map was made, what its distortions are, and how to use it, the map can be a useful tool for understanding reality. However, if we don’t see a model’s limitations, we build our entire lives on a delusion.

Great Britain, for instance, is too big and too diverse to be home to a small-island civilization, but in modern times the English—though not, I think, other peoples of the island—have cultivated what might be called a small-island mentality: all their most tiresome history books stress, sometimes in their opening words, that their history is a function of their insularity. They still write and read histories with such titles as Our Island Story and The Offshore Islanders.4The conviction that their island “arose from the azure main” and is like a gem “set in the silver sea” resounds in national songs and scraps of verse which they hear repeatedly. In the eighteenth and nineteenth centuries, the English invested heavily in naval security. They created the cult of the “English eccentric”—which is a way of idealizing the outcome of isolation. They have projected an image as “a singular race, one which prides itself on being a little mad.

It is my contention that the popular misuse of “do not judge” reveals just how far the discipline of sound biblical study has slipped in recent years. More than that, it sheds light on the state of our culture, a culture that seeks to avoid accountability and responsibility for personal actions. This current trend and mentality runs counter to the teachings of Scripture. For the collective teaching of the Bible insists that those who are created in the image of God are morally responsible to God and to one another. So to use “do not judge” as a means of dismissing oneself from moral responsibility would be to interpret it in a way that pits it against the rest of Scripture. We should remember that “all Scripture is God-breathed,” or inspired by the Holy Spirit, and as such it is without error and never contradicts itself (because God never contradicts himself). Therefore, it is always wise to interpret a given passage of Scripture by comparing it with the principles and teachings found elsewhere in Scripture. This provides a healthy check and balance and helps us avoid misinterpretations, logical inconsistencies, and inappropriate applications.

He could tell Fleming he was a musician but he could not communicate what the music said to him or said to the people he played it for. The music told itself, it made some obscure connection for which there were no words. The music was its own story, but a man could dip into the vast reservoir of folk and blues lines and phrases and images and construct his own story: though upon performing it and without it losing any relevance to his own life it now belonged to the audience as well. It was something he could not fathom. The old songs with juryrigged verses like bodies cobbled up out of bones from a thousand skeletons. Songs about death and lost love and rambling down the line because sometimes down the line was the only place left. Songs that treated the most desperate of loss with a dark sardonic humour. "I'm going where the climate suits my clothes", the song said, not saying the frustration and despair that created it, saying that in the sheer lonesomeness of the sound, in the old man's driving banjo. There was an eerie timelessness about it that said it could have been written a thousand years ago, or it could have been an unfinished song about events that had not yet played themselves out.

To understand Bashō’s place in Japanese poetry, it’s useful to have some sense of the literary culture he entered. The practice of the fine arts had been central to Japanese life from at least the seventh century, and virtually all educated people painted, played musical instruments, and wrote poems. In 17th century Japan, linked-verse writing was as widespread and popular as card games or Scrabble in mid-20th-century America. A certain amount of rice wine was often involved, and so another useful comparison might be made to playing pool or darts at a local bar. The closest analogy, though, can be found in certain areas of online life today. As with Dungeons and Dragons a few years ago, or Worlds of War and Second Life today, linked verse brought its practitioners into an interactive community that was continually and rapidly evolving. Hovering somewhere between art-form and competition, renga writing provided both a party and a playing field in which intelligence, knowledge, and ingenuity might be put to the test. Add to this mix some of street rap’s boundary-pushing language, and, finally, the video images of You-Tube. Now imagine the possibility that a “high art” form of very brief films might emerge from You-Tube, primarily out of one extraordinarily talented young film-maker’s creations and influence. In the realm of 17th-century Japanese haiku, that person was Basho.

The story of The Rape of the Lock, sylphs and all, could have been told, though not so effectively, in prose. The Odyssey and the Comedy have something to say that could have been said well, though not equally well, without verse. Most of the qualities Aristotle demands of a tragedy could occur in a prose play. Poetry and prose, however different in language, overlapped, almost coincided, in content. But modern poetry, if it ‘says’ anything at all, if it aspires to ‘mean’ as well as to ‘be’, says what prose could not say in any fashion. To read the old poetry involved learning a slightly different language; to read the new involves the unmaking of your mind, the abandonment of all the logical and narrative connections which you use in reading prose or in conversation. You must achieve a trance-like condition in which images, associations, and sounds operate without these. Thus the common ground between poetry and any other use of words is reduced almost to zero. In that way poetry is now more quintessentially poetical than ever before; ‘purer’ in the negative sense. It not only does (like all good poetry) what prose can’t do: it deliberately refrains from doing anything that prose can do. Unfortunately, but inevitably, this process is accompanied by a steady diminution in the number of its readers. Some have blamed the poets for this, and some the people. I am not sure that there need be any question of blame. The more any instrument is refined and perfected for some particular function, the fewer those who have the skill, or the occasion, to handle it must of course become. Many use ordinary knives and few use surgeons’ scalpels. The scalpel is better for operations, but it is no good for anything else. Poetry confines itself more and more to what only poetry can do; but this turns out to be something which not many people want done. Nor, of course, could they receive it if they did. Modern poetry is too difficult for them. It is idle to complain; poetry so pure as this must be difficult. But neither must the poets complain if they are unread. When the art of reading poetry requires talents hardly less exalted than the art of writing it, readers cannot be much more numerous than poets. The explication of poetry is already well entrenched as a scholastic and academic exercise. The intention to keep it there, to make proficiency in it the indispensable qualification for white-collared jobs, and thus to secure for poets and their explicators a large and permanent (because a conscript) audience, is avowed. It may possibly succeed. Without coming home any more than it now does to the ‘business and bosoms’ of most men, poetry may, in this fashion, reign for a millennium; providing material for the explication which teachers will praise as an incomparable discipline and pupils will accept as a necessary moyen de parvenir. But this is speculation.

The President is the King's father. He is an erect, strongly built, massive featured, white-haired, tawny old gentleman of eighty years of age or thereabouts. He was simply but well dressed, in a blue cloth coat and white vest, and white pantaloons, without spot, dust or blemish upon them. He bears himself with a calm, stately dignity, and is a man of noble presence. He was a young man and a distinguished warrior under that terrific fighter, Kamehameha I., more than half a century ago. A knowledge of his career suggested some such thought as this: "This man, naked as the day he was born, and war-club and spear in hand, has charged at the head of a horde of savages against other hordes of savages more than a generation and a half ago, and reveled in slaughter and carnage; has worshipped wooden images on his devout knees; has seen hundreds of his race offered up in heathen temples as sacrifices to wooden idols, at a time when no missionary's foot had ever pressed this soil, and he had never heard of the white man's God; has believed his enemy could secretly pray him to death; has seen the day, in his childhood, when it was a crime punishable by death for a man to eat with his wife, or for a plebeian to let his shadow fall upon the King—and now look at him; an educated Christian; neatly and handsomely dressed; a high-minded, elegant gentleman; a traveler, in some degree, and one who has been the honored guest of royalty in Europe; a man practiced in holding the reins of an enlightened government, and well versed in the politics of his country and in general, practical information. Look at him, sitting there presiding over the deliberations of a legislative body, among whom are white men—a grave, dignified, statesmanlike personage, and as seemingly natural and fitted to the place as if he had been born in it and had never been out of it in his life time. How the experiences of this old man's eventful life shame the cheap inventions of romance!

Making A Connection With The Word Of God Now that we’ve discussed the various methods of memorizing, we will move on to what is necessary to prepare for the memorization session itself. When you’re preparing to memorize the first thing that you need to do is read the text to make sure you understand it. It is easier to retain and recall what you memorized if you have full comprehension of what the scriptures are saying. Therefore it is always good to read the scriptures first. When you memorize focus on the meaning of the scripture that it may remain true to you. When you read the word of God certain things will jump out at you. This is God speaking to you through the pages. By memorizing what speaks out to you, you have a heartfelt association linked to the memory. Similar to peg and memorization by association, having a deep heartfelt connection to what you memorize gives your mind something extra to grab onto. It is infinitely more powerful to have a personal heart felt attachment to the verses in order to be able to recall it at the most practical or emotional times. Whereas other methods require a silly mental image or the smell of bacon to associate a verse with which has no emotional connection with you. If we are to love the Lord our God with all our heart, soul, mind, and strength then we also should love His word by which we are saved. If then we love His word we will have the heartfelt connection necessary to practically apply the scriptures in a daily walk with Him. However if we do not have a heartfelt connection with the word of God, then we will not apply it at the appropriate times and thus our walks with God will be hindered. Rather than using the other seemingly ridiculous memorizing methods that are out there it is better to focus on the meaning while retaining it for later use. Seeing that it has a special place in your heart you will be able to more accurately recall it at the most necessary times. This is why I teach that you should only memorize what is jumping out at you from the pages. When this happens God is speaking to you through the pages for your daily walk. He uses life experiences mixed with teaching from His “text book” (the bible) to teach you. If then God uses this method to help you retain the scripture and the meaning behind it, shouldn't we also apply it when memorizing? Whatever God is teaching you at the time, He will compare the scriptures to your experiences in life that you’re currently going through. Even as it is written, “These things we also speak, not in words which man's wisdom teaches but which the Holy Spirit teaches, comparing spiritual things with spiritual.” 1Co 2:13  Understanding this it is good to memorize the subject He is giving us to learn. It will have practical, heartfelt meaning for you and for what you’re going through now. As a result because the meaning was associated with your heart, every time you need to recall this scripture accurately it will pop back up in your mind. A walk with God in His Spirit and His word must be heartfelt. Therefore Beloved, take the time to memorize what God is teaching you. Whatever is speaking true to the current situations of your life, memorize. These current situations God will use for lessons for growth, a troubling situation to overcome, or maybe a doctrinal dispute. If you’re learning new lessons then it’s good to remember these things as a good student of God. If it’s something to overcome always memorize what God has encouraged you with.

My own observations had by now convinced me that the mind of the average Westerner held an utterly distorted image of Islam. What I saw in the pages of the Koran was not a ‘crudely materialistic’ world-view but, on the contrary, an intense God-consciousness that expressed itself in a rational acceptance of all God-created nature: a harmonious side-by-side of intellect and sensual urge, spiritual need and social demand. It was obvious to me that the decline of the Muslims was not due to any shortcomings in Islam but rather to their own failure to live up to it. For, indeed, it was Islam that had carried the early Muslims to tremendous cultural heights by directing all their energies toward conscious thought as the only means to understanding the nature of God’s creation and, thus, of His will. No demand had been made of them to believe in dogmas difficult or even impossible of intellectual comprehension; in fact, no dogma whatsoever was to be found in the Prophet’s message: and, thus, the thirst after knowledge which distinguished early Muslim history had not been forced, as elsewhere in the world, to assert itself in a painful struggle against the traditional faith. On the contrary, it had stemmed exclusively from that faith. The Arabian Prophet had declared that ‘Striving after knowledge is a most sacred duty for every Muslim man and woman’: and his followers were led to understand that only by acquiring knowledge could they fully worship the Lord. When they pondered the Prophet’s saying, ‘God creates no disease without creating a cure for it as well’, they realised that by searching for unknown cures they would contribute to a fulfilment of God’s will on earth: and so medical research became invested with the holiness of a religious duty. They read the Koran verse, ‘We create every living thing out of water’ - and in their endeavour to penetrate to the meaning of these words, they began to study living organisms and the laws of their development: and thus they established the science of biology. The Koran pointed to the harmony of the stars and their movements as witnesses of their Creator’s glory: and thereupon the sciences of astronomy and mathematics were taken up by the Muslims with a fervour which in other religions was reserved for prayer alone. The Copernican system, which established the earth’s rotation around its axis and the revolution of the planet’s around the sun, was evolved in Europe at the beginning of the sixteenth century (only to be met by the fury of the ecclesiastics, who read in it a contradiction of the literal teachings of the Bible): but the foundations of this system had actually been laid six hundred years earlier, in Muslim countries - for already in the ninth and tenth centuries Muslim astronomers had reached the conclusion that the earth was globular and that it rotated around its axis, and had made accurate calculations of latitudes and longitudes; and many of them maintained - without ever being accused of hearsay - that the earth rotated around the sun. And in the same way they took to chemistry and physics and physiology, and to all the other sciences in which the Muslim genius was to find its most lasting monument. In building that monument they did no more than follow the admonition of their Prophet that ‘If anybody proceeds on his way in search of knowledge, God will make easy for him the way to Paradise’; that ‘The scientist walks in the path of God’; that ‘The superiority of the learned man over the mere pious is like the superiority of the moon when it is full over all other stars’; and that ‘The ink of the scholars is more precious that the blood of martyrs’. Throughout the whole creative period of Muslim history - that is to say, during the first five centuries after the Prophet’s time - science and learning had no greater champion than Muslim civilisation and no home more secure than the lands in which Islam was supreme.

Let’s look at the Spirit’s role in union. Our lives are not moving from sinner to saint. Our lives are now moving from Glory to Glory. There is a massive difference. You are starting on a full tank, and it never runs out. And we, who with unveiled faces all reflect the Lord’s Glory, are being transformed into His likeness with ever-increasing Glory, which comes from the Lord, who is the Spirit (2 Cor. 3:18, NIV). This verse is not an admission of your present lack. You have already been restored to His image. This verse speaks of a greater and greater manifestation of what you already possess. This transformation literally means “metamorphosis” or “transfiguration.”65 You are already a son, and the world is waiting for the sons to fully manifest the Glory they carry in Christ. Manifestation is not a work. It is an effortless byproduct of believing. Shining forth who you are. We reflect Him best by gazing at Him continually. You can’t even hold the gaze on your own – you’re locked into a tractor beam of irresistible grace!

Forming a theology of petitionary prayer for others based on Scripture requires that we work through some hermeneutical issues. It requires that we separate wishes from prayers. It requires that we separate myth, legend, and metaphorical and symbolic literature from objective history. It requires that we separate event descriptions (this is what happened) from biblical prescriptions (this is what you should do). It also requires us to ask, when faced with verses that offer images of God that are contrary to the person and character of Christ and the definition of love, “What else is going on?” These are not easy tasks.

God placed humans on a plateau above the rest of creation when he fashioned them in his relational image and likeness. To

Remember that you’re looking for the author’s ideas. Begin by stating in rough fashion what you think the writer is talking about—that is, his subject. Then try to determine what major assertion(s) the biblical writer is making about the subject, that is, the complement(s). If you cannot state a subject at this point, what is hindering you from doing so? Is there a verse that doesn’t seem to fit? Is the writer assuming a connection between his assertions that you need to state? Is it that you can’t figure out how this paragraph relates to what precedes or follows it? Is there an image the author uses that you don’t understand?

Hours of insanity and escape . . . in which I write inadequate verse, read, rage . . . record anecdotes which fade into the page like stains . . . beat time with my pencil’s business end . . . nip at the loose skin on the side of my hand with my teeth . . . cast schemes and tropes like horoscopes . . . practice catachresis as though it were croquet . . . grrrowl . . . kick wastebaskets into corners . . . realize that when I picture my methods of construction all the images are architectural, but when I dream of the ultimate fiction—that animal entity, the made-up syllabic self—I am trying to energize old, used-up, stolen organs like Dr. Frankenstein . . . grrrind . . . throw wet wads of Kleenex from a spring or winter cold into the corner where they mainly miss the basket . . . O . . . Ohio: I hear howling from both Os . . . play ring agroan the rosie . . . pace . . . put an angry erection back in my pants . . . rhyme . . . Then occasionally perceive beneath me on the page a few lines which . . . while I was elsewhere must have . . . yes, a few lines which have . . . which have the sound . . . the true whistle of the spirit. Wait’ll they read that, I say, perhaps even aloud, over the water running in the kitchen sink, over the noise of my writing lamp, coffee growing cold in the cup, the grrowl of my belly. Yet when I raise my right palm from the paper where, in oath, I’ve put it, the whistle in those words is gone, and only the lamp sings. Till I pull its chain like a john.

I pray for the following graces: to be more aware of how God is near; to trust in God's personal care and love for me. DAY 1 Read Isaiah 43:1-7 ("I have called you by name, you are mine"). Pray slowly over the verses. What words or images move you? Consider: Who is God for me? How does God see me?

Pick a passage. You can do this randomly (my favorite method) or look up a passage that suits your concerns of the day, or go to your favorite book of the Bible. Still your mind and invite God, the Holy Spirit, or whatever you want to call the Divine, to speak to you through your reading. You can say this out loud or within. ​“Then, read the passage until a word or phrase jumps off the page. You may have to read one verse, several verses, or just a few words until this happens. Use your heart to sense it, not your mind. Don’t analyze or think, ‘Oh, I know the origin of that word, I’ll choose that one.’ Let the words do the work of jumping. ​“When the word jumps, take it into your heart. Let it work in there until you start to hear or see something. Let the words or pictures flow in your imagination. Try not to let your analytical mind hijack the flow. Let the words paint the images or realizations via the subconscious, or whatever you want to call that intuitive part of you. When the flow slows or stops, grab your journal and write. Write fluidly as if you are letting the flow continue. Don’t judge your words or ideas. That’s not your job here. You are a pen in God’s hand. Write what comes.

Marriage is God’s doing because it was his design in the creation of man as male and female. This was made plain earlier in Genesis 1:27–28: “God created man in his own image, in the image of God he created him; male and female he created them. And God blessed them. And God said to them, ‘Be fruitful and multiply and fill the earth.’” But it is also clear here in the flow of thought in Genesis 2. In verse 18, it is God himself who decrees that man’s solitude is not good, and it is God himself who sets out to complete one of the central designs of creation, namely, man and woman in marriage. “It is not good that the man should be alone; I will make him a helper fit for him.” Don’t miss that central and all-important statement: God himself will make a being perfectly suited for him—a wife. Then he parades the animals before Adam so that he might see there is no creature that qualifies. This creature must be made uniquely from man so that she will be of his essence—a fellow human being in God’s image, just as Genesis 1:27 said. So we read in verses 21–22, “So the Lord God caused a deep sleep to fall upon the man, and while he slept took one of his ribs and closed up its place with flesh. And the rib that the Lord God had taken from the man he made into a woman.” God made her. This text ends in verses 24–25 with the words, “They shall become one flesh. And the man and his wife were both naked and were not ashamed.” In other words, this is all moving toward marriage. So the first thing to say about marriage being God’s doing is that marriage was his design in creating man male and female.

•​Two verses on the Samadhi of Illusion, from the Jewel Ornament of Liberation. First verse: “Knowing the five skandhas are like an illusion / Don’t separate the illusion from the skandhas / Free of thinking that anything is real / This is perfect wisdom’s conduct at its best!”6 Second verse: “All the images conjured up by a magician / The horses, elephants, and chariots in his illusions / Whatever may appear there, know that none of it is real / And it’s just like that with everything there is!

In the quiet of my soul, where silent whispers dwell, Your name, a sacred verse, in every beat it swells. A vision of you, like a gentle breeze, through my thoughts does play, A fleeting comfort in my longing, as night turns to day. With every dawn, your image, like the sun, does rise, Casting shadows of my yearning, under the vast skies.

Paul then expresses the purpose of our groaning—that what is mortal may be swallowed up by life. That is, our groan is actually a prayer (see Rom 8:26–27), for it is directed to God, who alone can bring the dead to life. Although God has not been explicitly named as the subject of any verbs in verses 1–4, he has been present throughout the passage. God is the one who brings into being what is “not made with hands” (v. 1). Moreover, God is the implied subject of the action of clothing further (vv. 2, 4). Now, at the end of our verse here, God is the one who makes what is mortal have eternal life. Indeed, throughout his extended explanation for his way of being an †apostle (beginning in 2:14), Paul has alluded to God’s action, through the Spirit’s empowerment, of transforming us into the divine image as revealed by Jesus (2:14–15; 3:3, 18; 4:4, 6, 14). The process of “Christification,” of causing us to take on Jesus’ character and way of living, will not be complete, however, until God fully “clothes” us with a glorious resurrection body. It is then that we will most closely resemble the risen and glorified Christ.[8]

The Tanakh directs many polemics against Israelites who practice polytheism and idolatry. Isaiah 44:9 declares, “All who make idols are nothing, and the things they delight in do not profit.” The polemic continues when the chapter mocks the construction of such images: He cuts down cedars [to be used as fuel]. . . . Part of it he takes and warms himself; he kindles a fire and bakes bread. Then he makes a god and worships it, makes it a carved image and bows down before it. Half of it he burns in the fire; over this half he roasts meat, eats it and is satisfied. . . . The rest of it he makes into a god, his idol, bows down to it and worships it; he prays to it and says, “Save me, for you are my god!” (44:14–17) The unit concludes by stating about anyone who would worship such idols that “a deluded mind has led him astray” (44:20). We suspect, were there a Canaanite Anti-Defamation League, they would protest such claims as bigoted polemic. We have heard these verses deployed against Roman Catholics, for whom art can function as a focus of prayer, and Hindus, who depict their gods through artwork. We find such deployments equally unhealthy.

13 The carpenter stretcheth out his rule; he marketh it [the idol he is making] out with a line; he fitteth it with planes, and he marketh it out with the compass [your craftsmen exercise great care and skill in manufacturing your idols], and maketh it after the figure of a man, according to the beauty of a man; that it may remain in the house [your craftsmen put great care into making your idols; implication: if you were as careful worshipping God as you are in making idols . . .]. 14 He heweth him down cedars, and taketh the cypress and the oak, which he strengtheneth [cultivates and grows] for himself among the trees of the forest: he planteth an ash [tree], and the rain doth nourish it. 15 Then shall it be for a man to burn: for he will take thereof, and warm himself; yea, he kindleth it, and baketh bread; yea, he maketh a god, and worshippeth it [you use most of the tree’s wood for normal daily needs; how can you possibly turn around and worship wood from the same tree in the form of idols!]; he maketh it a graven image, and falleth down thereto. 16 He burneth part thereof in the fire; with part thereof he eateth flesh; he roasteth roast, and is satisfied: yea, he warmeth himself, and saith, Aha, I am warm, I have seen the fire [normal uses]: 17 And the residue thereof [with the rest of the tree] he maketh a god, even his graven image: he falleth down unto it, and worshippeth it, and prayeth unto it, and saith, Deliver [save] me; for thou art my god [Isaiah is saying how utterly ridiculous it is to assign part of a tree to have powers over yourselves]. 18 They [idol worshipers; see 45:20] have not known [German: know nothing] nor understood [German: understand nothing]: for he hath shut their eyes [German: they are blind], that they cannot see [are spiritually blind]; and their hearts, that they cannot understand [they are as blind and unfeeling, insensitive, as the idols they make and worship]. 19 And none considereth in his heart [if idol worshipers would just stop and think], neither is there knowledge nor understanding [they don’t have enough common sense] to say, I have burned part of it [the tree spoken of in verse 44] in the fire; yea, also I have baked bread upon the coals thereof; I have roasted flesh, and eaten it: and shall I make the residue thereof an abomination [is it reasonable to make the leftover portion into an abominable idol]? shall I fall down to the stock of a tree [is it rational to worship a chunk of wood]? 20 He [the idol worshiper] feedeth on ashes [German: takes pleasure in ashes, perhaps referring to ashes left over from some forms of idol worship]: a [German: his own] deceived heart hath turned him aside [German: leads him astray], that he cannot deliver [save] his soul, nor say [wake up and think], Is there not a lie in my right hand [covenant hand—am I not making covenants with false gods]? 21 ¶ Remember these, O Jacob and Israel; for thou art my servant: I have formed thee [the exact opposite of idol worshipers who form their gods]; thou art my servant: O Israel, thou shalt not be forgotten of me.

There are so many of these mighty spirit lifters! “Let not your heart be troubled: ye believe in God, believe also in me. In my Father’s house are many mansions …” (John 14:1, 2). “Peace I leave with you, my peace I give unto you …” (verse 27). “Thou wilt keep him in perfect peace, whose mind is stayed on thee” (Isaiah 26:3). “Fear thou not; for I am with thee: be not dismayed …” (Isaiah 41:10).

Modern readers accustomed to interpreting biblical texts as discourse addressing the private individual will find this image of a corporate sacrifice a strange picture, but it is fundamental to Paul’s understanding of his mission. For instance, in Romans 15:14–19, he invokes the metaphor of himself as a priest presenting “the offering of the Gentiles” to God; this “offering” (prosphora) is then explicated as “the obedience of the Gentiles” (v. 18). In this passage, Paul is the metaphorical “priest” presenting the offering, whereas in Romans 12:1–2 the community performs the act of self-presentation. In both cases, however, the content of the sacrifice is the community’s corporate obedience. That Paul has the community explicitly in mind in Romans 12 is confirmed by the fact that he immediately reintroduces the “one body in Christ” metaphor in verses 4–8, again emphasizing, as in 1 Corinthians 12, the complementarity of different gifts for the common good.

Although their access to scholarly tools was primitive compared to what is available in our day, their method of biblical interpretation was in some ways more sophisticated and certainly more psychologically astute, in that they were better able to fathom the complex, integrative, and transformative qualities of revelation. Their approach was far less narcissistic than our own tends to be, in that their goal when reading scripture was to see Christ in every verse, and not a mirror image of themselves.

In the Discourse, a few verses further along: “Immediately after the distress of those days the sun will be darkened, the moon will not give its light, the stars will fall from the sky and the powers of the heavens will be shaken. And then the sign of the Son of man will appear in heaven; then, too, all the peoples of the earth will beat their breasts; and they will see the Son of man coming on the clouds of heaven with power and great glory” (Matthew 24:29-30). It’s almost like a mythological description of depression. Have you ever had a day when it all doesn’t make any sense? Emptiness has to precede fullness. Usually our old securities have to be wrested from us before we will move into the new. We seldom do it deliberately. Spirituality is always about letting go—not just in Christianity, but in Judaism, Islam, Hinduism, Buddhism. All the great world religions at their higher levels teach the mystery and the art of letting go. You let go, and hopefully collapse back into your true self, into who you really are. The work of religion is to guide us on the path of the fall and onto the path of the return. What Jesus is painting here with his words is a cosmic liturgy, a cosmic image of everything falling apart. Out of that emptiness comes the possibility of a new kind of fullness. “Take

Lady Jenny, your turn.” She passed her sketch pad over to him, feeling a pang of sympathy for accused criminals as they stood in the dock. And yet, she’d asked for this. Gotten together all of her courage to ask for this one moment of artistic communion. “Well,” Mr. Harrison said, “isn’t he a handsome fellow? What do you think, ladies?” “You look like a papa,” Fleur observed. “Though our papa doesn’t sketch. He reads stories.” “And hates his ledgers,” Amanda added. “Is my hair that long in back?” “Yes,” Jenny said, because she’d drawn not only Elijah Harrison’s hands, but all of him, looking relaxed, elegant, and handsome, with Amanda crouched at his side, fascinated with what he created on the page. “I look…” He regarded the sketch in silence, while Jenny heard a coach-and-four rumbling toward her vulnerable heart. “I look… a bit tired, slightly rumpled, but quite at home. You are very quick, Lady Genevieve, and quite good.” Quite good. Like saying a baby was adorable, a young gentleman well-mannered. “The pose was simple,” Jenny said, “the lighting uncomplicated, and the subject…” “Yes?” He was one of those men built in perfect proportion. Antoine had spent an entire class wielding a tailor’s measure on Mr. Harrison’s body, comparing his proportions to the Apollo Belvedere, and scoffing at the “mistakes” inherent in Michelangelo’s David. Jenny wanted to snatch her drawing from his hand. “The subject is conducive to a pleasing image.” He passed the sketch pad back, but Jenny had the sense that in some way, some not entirely artistic way, she’d displeased him. The disappointment was survivable. Her art had been displeasing men since she’d first neglected her Bible verses to sketch her brothers. “You

Let's look at verses 1 and 2 of Psalm 8: O Lord our Lord, how excellent is thy name in all the earth! who hast set thy glory above the heavens. Out of the mouth of babes and sucklings hast thou ordained strength because of thine enemies, that thou mightest still the enemy and the avenger. God has ordained strength to come out of the mouths of babes - little ones! Strength will come out of their mouths "...because of thine enemies." In other words God is saying, "My power will flow through those who are My children. Strength will come out of their mouths because of the enemy." Because the enemy had power, the enemy was lording it over them. But strength is going to come out of their mouths.

Psalm 139:14 I praise you because I am fearfully and wonderfully made; your works are wonderful, I know that full well. What it means: You are created in the image of God, and God doesn't make junk! Like a snowflake, every person is unique. No two are the same. God sees you as a masterpiece; and when you look in the mirror, He wants you to “know that full well.” Try this beauty tip: Every morning when you look in the mirror, say Psalm 139:14 and smile. You might even tape the verse on your mirror as a reminder!

Memorization Through Association Memorization through association is taking something familiar to you and correlating it to what you’re trying to remember. So for example sometimes certain lyrics in a song remind you of a person you know. The theory is that these combined memories can help you remember more. If you have 2 or 3 memories tied to a single one it should be easier to recall. Some people when they smell bacon in the morning they might be reminded of the mornings they woke up as little child with their parents cooking breakfast. So the smell of bacon may bring to mind a mental image of bacon and a past experience with bacon. Due to these similarities people try to create an association between an object and a memory thus to bring to mind what they’re trying to memorize more easily. This may work well for a list of objects, and this may work well for numbers, past experiences and the like. But this may not be an appropriate option for memorizing vast amounts of scripture while attempting to retain the meaning behind them. We need to retain the meaning of the scripture when we memorize them that when we recall it, it can be put to use accurately. Therefore it is necessary focus on the things which help us recall the scripture while being able to accurately apply it. Memorization by association may work well for others but it is not appropriate for memorizing pages and verses of scripture. It may help you memorize a few verses but it will not help you memorize a multitude of verses, which is our goal.

For example for John 3:16 someone would imagine God growing a heart shape in his hand while handing a little toddler son dangled by his toes to a globe. Being dangled by his toes would help someone remember it because it is not something people would do. There have been books written about this subject, claiming that it works well for memorizing scripture. But turning the scripture into a ridiculous image is blaspheming the word of God by which you are saved. It is better to remember the scripture with the meaning of it. When you create a ridiculous image, you are no longer focusing on the meaning behind the scripture. In the end you are exchanging the meaning of the scriptures with a bizarre mental image. This is profaning the scripture in your mind! Even though this method may help you remember a verse or two it is not worth the trouble behind it. In the amount of time it takes to create a single image you could have memorized the scripture using other techniques. Also you’ll only be able to retain as many verses as you can remember silly images. And finally it does not help you retain the meaning of the scripture when it is time for the application of it, but rather it blasphemes the word of God.

images of sacrifice and piety lined the walls. The ceiling extended high until its surfaces became like the mysteriousness of fog in night’s blackness. Small,

Then God said, “Let us make humankind in our image, according to our likeness; and let them have dominion over the fish of the sea, and over the birds of the air, and over the cattle, and over all the wild animals of the earth, and over every creeping thing that creeps upon the earth.” So God created humankind in his image, in the image of God he created them; male and female he created them. God blessed them, and God said to them, “Be fruitful and multiply, and fill the earth and subdue it; and have dominion over the fish of the sea and over the birds of the air and over every living thing that moves upon the earth” (Gen 1:26–28). Twice these verses affirm that humans were made in God’s image, and both times they go on to say that God granted humans dominion over the rest of creation. God created all humans in his image precisely because he wanted the entire race to share responsibility for creation. There is no superior class, ethnic group, gender, or territory. Humans must learn to share authority and responsibility in ways that affirm and uphold the dignity of all humans.

Ws 7:24 For wisdom is more active than all active things; and reacheth everywhere, by reason of her purity. Ws 7:25 For she is a vapour of the power of God, and a certain pure emmanation of the glory of the Almighty God: and therefore no defiled thing cometh into her. Ws 7:26 For she is the brightness of eternal light, and the unspotted mirror of God's majesty, and the image of his goodness.

Jesus Christ is proof of God’s grace gift; he redeemed the glory of God in human life; mankind condemned is now mankind justified because of the ransom paid by Christ Jesus! (He proved that God did not make a mistake when he made man in his image and likeness! Sadly the evangelical world proclaimed verse 23 completely out of context! There is no good news in verse 23, the gospel is in verse 24! All fell short because of Adam; the same ‘all’ are equally declared innocent because of Christ! The law reveals what happened to man in Adam; grace reveals what happened to the same man in Christ.)   3:25  Jesus exhibits God’s mercy. His blood propitiation persuades humankind that God has dealt with the historic record of their sin. 

embedded in real life, real loss. Disappointment largely revolves around expectations and imagination. I expect you to act a certain way, or I expect a specific outcome, or I expected to have achieved (fill in the blank) by now, or I expected that my life would be different or that I would be working in a field that I actually like. Fueled by media images, expectations are mostly disappointments waiting to happen and almost entirely built on imagination or illusion. Now, I understand the positive power of visualization and the neurological benefits of meditation, but that is not what I am talking about. I’m talking about imagining outcomes that can’t or don’t materialize. This is precisely why God is never disappointed in you. God has no such imaginations or illusions. God knows you, completely, fully, and with unrelenting affection. You don’t surprise God. God delights in you, as you delight in your own children; God also grieves for and with you when you act inside your lies and darkness—but not because God expected more of you. God is a fully engaged participant, present in the deepest and most profound activities happening inside the highest of all creation—you. God knows you for who you truly are and grieves for the distance between that truth and what you believe about yourself. It is from that gap of darkness and lies that we project God’s disappointment and abandonment. God is never disillusioned by you; God never had any illusions about you in the first place. God is never disappointed in you; God has no expectations. Do you remember the verses halfway through Psalm 22? That’s the psalm that begins with “My God, my God, why have you forsaken me.” This was the cry of Jesus when He experientially entered all of humanity’s lies and darkness, when He plunged into the shadow depths in which we projected a turned-away face of God. We believe that we are abandoned and unworthy to be face-to-face with God, and it is in that delusion that Jesus finds us. Halfway through this psalm, which Jesus knew by heart, are these words: You do not despise the afflictions of the afflicted one, Nor will you turn your face from him, And when he cries, you will hear. This God does not do abandonment. We will never be powerful enough to make God’s face turn from us. Because God knows us utterly and is with us always—you are never a disappointment.

first four verses of Revelation fifteen: ‘I saw in heaven another great and marvelous sign: seven angels with the seven last plagues—last, because with them God’s wrath is completed. And I saw what looked like a sea of glass glowing with fire and, standing beside the sea, those who had been victorious over the beast and its image and over the number of its name.  “They held harps given them by God and sang the song of God’s servant Moses and of the Lamb: ‘Great and marvelous are your deeds, Lord God Almighty. Just and true are your ways, King of the nations, Who will not fear you, Lord, and bring glory to your name? For you alone are holy. All nations will come and worship before you, for your righteous acts have been revealed.

Jinnah had, among other things, criticized the singing in government schools of the patriotic hymn ‘Vande Mataram’. Composed by the great Bengali writer Bankim Chandra Chatterjee, the poem invoked Hindu temples, praised the Hindu goddess Durga, and spoke of seventy million Indians, each carrying a sword, ready to defend their motherland against invaders, who could be interpreted as being the British, or Muslims, or both. ‘Vande Mataram’ first became popular during the swadeshi movement of1905–07. The revolutionary Aurobindo Ghose named his political journal after it. Rabindranath Tagore was among the first to set it to music. His version was sung by his niece Saraladevi Chaudhurani at the Banaras Congress of 1905. The same year, the Tamil poet Subramania Bharati rendered it into his language. In Bengali and Tamil, Kannada and Telugu, Hindi and Gujarati, the song had long been sung at nationalist meetings and processions. After the Congress governments took power in 1937, the song was sometimes sung at official functions. The Muslim League objected vigorously. One of its legislators called it ‘anti-Muslim’, another, ‘an insult to Islam’. Jinnah himself claimed the song was ‘not only idolatrous but in its origins and substance [was] a hymn to spread hatred for the Musalmans’. Nationalists in Bengal were adamant that the song was not aimed at Muslims.The prominent Calcutta Congressman Subhas Chandra Bose wrote to Gandhi that ‘the province (or at least the Hindu portion of it) is greatly perturbed over the controversy raised in certain Muslim circles over the song “Bande Mataram”. As far as I can judge, all shades of Hindu opinion are unanimous in opposing any attempts to ban the song in Congress meetings and conferences.’ Bose himself thought that ‘we should think a hundred times before we take any steps in the direction of banning the song’. The social worker Satis Dasgupta told Gandhi that ‘Vande Mataram’ was ‘out and out a patriotic song—a song in which all the children of the mother[land] can participate, be they Hindu or Mussalman’. It did use Hindu images, but such imagery was common in Bengal, where even Muslim poets like Nazrul Islam often referred to Hindu gods and legends. ‘Vande Mataram’, argued Dasgupta, was ‘never a provincial cry and never surely a communal cry’. Faced with Jinnah’s complaints on the one side and this defence by Bengali patriots on the other, Gandhi suggested a compromise: that Congress governments should have only the first two verses sung. These evoked the motherland without specifying any religious identity. But this concession made many Bengalis ‘sore at heart’; they wanted the whole song sung. On the other side, Muslims were not satisfied either; for, the ascription of a mother-like status to India was dangerously close to idol worship.

The word nature has many senses; but if we preserve the one which etymology justifies, and which is the most philosophical as well, nature should mean the principle of birth or genesis, the universal mother, the great cause, or system of causes, that brings phenomena to light. If we take the word nature in this sense, it may be said that Lucretius, more than any other man, is the poet of nature. Of course, being an ancient, he is not particularly a poet of landscape. He runs deeper than that; he is a poet of the source of landscape, a poet of matter. A poet of landscape might try to suggest, by well-chosen words, the sensations of light, movement, and form which nature arouses in us; but in this attempt he would encounter the insuperable difficulty which Lessing long ago pointed out, and warned poets of: I mean the unfitness of language to render what is spatial and material; its fitness to render only what, like language itself, is bodiless and flowing,—action, feeling, and thought. It is noticeable, accordingly, that poets who are fascinated by pure sense and seek to write poems about it are called not impressionists, but symbolists; for in trying to render some absolute sensation they render rather the field of association in which that sensation lies, or the emotions and half-thoughts that shoot and play about it in their fancy. They become—against their will, perhaps—psychological poets, ringers of mental chimes, and listeners for the chance overtones of consciousness. Hence we call them symbolists, mixing perhaps some shade of disparagement in the term, as if they were symbolists of an empty, super-subtle, or fatuous sort. For they play with things luxuriously, making them symbols for their thoughts, instead of mending their thoughts intelligently, to render them symbols for things. A poet might be a symbolist in another sense,—if he broke up nature, the object suggested by landscape to the mind, and reverted to the elements of landscape, not in order to associate these sensations lazily together, but in order to build out of them in fancy a different nature, a better world, than that which they reveal to reason. The elements of landscape, chosen, emphasized, and recombined for this purpose, would then be symbols for the ideal world they were made to suggest, and for the ideal life that might be led in that paradise. Shelley is a symbolic landscape poet in this sense. To Shelley, as Francis Thompson has said, nature was a toy-shop; his fancy took the materials of the landscape and wove them into a gossamer world, a bright ethereal habitation for new-born irresponsible spirits. Shelley was the musician of landscape; he traced out its unrealized suggestions; transformed the things he saw into the things he would fain have seen. In this idealization it was spirit that guided him, the bent of his wild and exquisite imagination, and he fancied sometimes that the grosser landscapes of earth were likewise the work of some half-spiritual stress, of some restlessly dreaming power. In this sense, earthly landscape seemed to him the symbol of the earth spirit, as the starlit crystal landscapes of his verse, with their pensive flowers, were symbols in which his own fevered spirit was expressed, images in which his passion rested.

I felt sick with it. You’re perfect, made in His image and all I could think about was how I’d take you apart.

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O SON OF MAN! Veiled in My immemorial being and in the ancient eternity of My essence, I knew My love for thee; therefore I created thee, have engraved on thee Mine image and revealed to thee My beauty. O SON OF MAN! I loved thy creation, hence I created thee. Wherefore, do thou love Me, that I may name thy name and fill thy soul with the spirit of life. O SON OF BEING! Love Me, that I may love thee. If thou lovest Me not, My love can in no wise reach thee. Know this, O servant. O SON OF BEING! Thy Paradise is My love; thy heavenly home, reunion with Me. Enter therein and tarry not. This is that which hath been destined for thee in Our kingdom above and Our exalted dominion" - Baháʼu'lláh, Hidden Words, Arabic verses 3-6

Fake Plastic Trees” by Radiohead. Everett just wanted to hear the last verse. He could circle the block one more time. Ever since he’d gotten the call, he’d been numb, his chest so frozen that he could barely breathe. His adoptive brothers,

No strong evidence supports the idea that only the pagan world should be read in these verses.

What is a line holding if not metrical beats? It could hold an image; an unusual word or phrase; a tone; a rhythm, whether analysed or not. It could hold a bit of alliteration; it could hold all you can say in a single breath; it could have a rhyme at the end of it you want the reader to notice. Lines in poems, whether free verse or metrically precise, will contain one or more of these. When you try justifying to yourself why one unit is a line, and why another isn’t quite, ask yourself: ‘What is it holding?’ Is it holding enough to justify the reader looking on this for the whole three seconds of their present moment?

. Adam never actually got his authority over the animals through naming them! Verse 1:26 of Genesis states, “Then God said, ‘Let us make human beings* in our image, to be like ourselves. They will reign over the fish in the sea, the birds in the sky, the livestock, all the wild animals on Earth, and the small animals that scurry along the ground.” As shown with the verse above, naming, which includes the naming of the animals and later on the naming of Eve, was not what gave Adam his authority over the animals. God alone gave human beings the authority to “reign over” the animals. Naming did nothing. This exemplifies that naming, indeed, had a negligible impact on a being’s level of authority. God was the only being who created the dichotomy between animals and humanity, in which the former, through God, not through naming, is of a comparatively lower status than the latter

At the very beginning of the poetic argument, we entered the world of Job’s inner torment through the great death wish poem that takes up all of Chapter 3. These first thirty seven lines of God’s response to Job constitute a brilliantly pointed reversal, in structure, image, and theme, of that initial poem of Job’s. Perhaps the best way to sense the special weight of disputation over theodicy is to observe that it is cast in the form of a clash between two modes of poetry, one kind spoken by man and, however memorable, appropriate to the limitations of his creaturely condition, the other kind of verse a poet of genius could persuasively imagine God speaking…. Perhaps the finest illustration of this nice match of meaning and imagery between the two poems is the beautiful counterbalance between the most haunting of Job’s lines wishing for darkness and the most exquisite of God’s lines affirming light. Job, one recalls, tried to conjure up an eternal starless night: “Let its twilight stars go dark, / let it hope for light in vain, / and let it not see the eyelids of the dawn” (3:9). God, near the beginning of His first discourse, evokes the moment when creation was completed in an image that has become justly famous in its own right but that is also, it should be observed, a counterimage to 3:9: “When the morning stars sang together, / and all the sons of God shouted for joy” (verse 7). That is, instead of a night with no twilight stars, with no glimmer of dawn, the morning stars of creation exult. The emphasis in this line on song and shouts of joy also takes us back to the poem of Chapter 3, which began with a triumphant cry on the night of conception—a cry Job wanted to wish away—and proceeded to a prayer that no joyous exclamation come into that night (3:7).

His meaning becomes clear if we recall the story recounted by all three Synoptic evangelists, in which children were brought to Jesus “that he might touch them”. Despite the resistance of the disciples, who wanted to protect him from this imposition, Jesus calls the children to himself, lays his hands on them, and blesses them. He explains this gesture with the words: “Let the children come to me; do not hinder them; for to such belongs the kingdom of God. Truly, I say to you, whoever does not receive the kingdom of God like a child shall not enter it” (Mk 10:13-16). The children serve Jesus as an example of the littleness before God that is necessary in order to pass through the “eye of a needle”, the image that he used immediately afterward in the story of the rich young man (Mk 10:17-27). In the previous chapter we find the scene where Jesus responds to the disciples’ dispute over rank by placing a child in their midst, taking it into his arms and saying: “Whoever receives one such child in my name receives me” (Mk 9:33-37). Jesus identifies himself with the child—he himself has become small. As Son he does nothing of himself, but he acts wholly from the Father and for the Father. The passage that follows a few verses later can also be understood on this basis. Here Jesus speaks no longer of children, but of “little ones”, and the term “little ones” designates believers, the company of the disciples of Jesus Christ (cf. Mk 9:42). In the faith they have found this true littleness that leads mankind into its truth. This brings us back to the children’s Hosanna: in the light of Psalm 8, the praise of these children appears as an anticipation of the great outpouring of praise that his “little ones” will sing to him far beyond the present hour. The early Church, then, was right to read this scene as an anticipation of what she does in her liturgy. Even in the earliest post-Easter liturgical text that we possess—the Didachē (ca. 100)—before the distribution of the holy gifts the Hosanna appears, together with the Maranatha: “Let his grace draw near, and let this present world pass away. Hosanna to the God of David. Whoever is holy, let him approach; whoever is not, let him repent. Maranatha. Amen” (10, 6). The Benedictus also entered the liturgy at a very early stage. For the infant Church, “Palm Sunday” was not a thing of the past. Just as the Lord entered the Holy City that day on a donkey, so too the Church saw him coming again and again in the humble form of bread and wine.

This verse [Genesis 1:27] means that we are made in the very image of the One who is without rival and without equal. When we compare and compete with one another, we are essentially attacking part of the image of God in each other. Every person God made offers a sneak peek at the goodness of God. Right now there are more than seven billion people on earth, and each one bears something of the image of God.

Zen is eminently practical in seeing nature as a model for human behavior to learn and practice the way of the dharma. For example, the pine trees weathering the harsh winter storms teach a lesson in the value of dedication and determination in pursing the path to enlightenment; bamboo branches that sway but are not broken by the breeze teach flexibility and the need to overcome stubborn one-sided or partial views; and evaporating dew, which accepts its brevity and inevitable demise, shows the demise, significance of adjusting and abandoning resistance to the impermanence of reality. These natural images, which are used extensively in the Chinese and Japanese poetic traditions, frequently enter into various styles of Zen verse and prose, not just as rhetorical flourishes but as indicators of inner spiritual transformation.

There is an image stuck in my mind, but I have no words for it. It gives me no peace. ’Tis a queer backward way of making verse, like going through a door arse first.

Yet there was no suitable counterpart among the animals for Adam. This was because none of the animals bore the image of God, and an adequate counterpart must bear the image of God just as Adam was made in the image of God. It is claimed that the first unambiguous reference to “Adam” as a personal name does not occur until Genesis 5:1, but the evidence of verse 20 seriously contests that claim, especially as it comes within the context of naming the animals. The phrase lĕʾādām in the Masoretic Text reads as a proper name since it appears without the definite article, which indicates a proper name in Hebrew. Jewish scholar Nahum Sarna comments, “The Hebrew vocalization lĕʾādām makes the word a proper name for the first time, probably because the narrative now speaks of the man as a personality rather than an archetypal human.

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Here he uses the image of a sun (the masters) shining down from the Vast space of love and wisdom (their activities of body, speech and mind), to mature the minds of trainees (lotus flowers).

It is true that there are kinds of imagery which do not involve visualisation. We speak, for example, of aural or tactile imagery. Yet the word remains more deceptive than illuminating. For some eighteenth-century critics, imagery referred to the power of poetry to make us 'see' objects, to feel as if we were in their actual presence; but this implied, oddly, that the function of poetic language was to efface itself before what it represented. Language makes things vividly present to us, but to do so adequately it must cease to interpose its own ungainly bulk between us and them. So poetic language attains its pitch of perfection when it ceases to be language at all. At its peak, it transcends itself. Images, on this theory, are representations so lucid that they cease to be representations at all, and instead merge with the real thing. Which means, logically speaking, that we are no longer dealing with poetry at all, which is nothing if not a verbal phenomenon. F. R. Leavis writes of the kind of verse which 'has such life and body that we hardly seem to be reading arrangements of words . . . The total effect is as if words as words withdrew themselves from the focus of our attention and we were directly aware of a tissue of feelings and perceptions.

As I read deeper in the Zen poets, I soon stumbled upon Ikkyū, the fifteenth-century sword-wielding monk of Daitokuji, who had entered a temple at the age of six and gone on to express his contempt for the corrupt monasteries of his time in famously controversial poems. Like the Sixth Dalai Lama, in his way, Ikkyū had been a patron - and a laureate - of the local taverns, and of the pretty girls he had found therein; and like his Tibetan counterpart, or John Donne in our own tradition, he had deliberately conflated the terms of earthly love with those of devotion to the Absolute. The very name he gave himself, "Crazy Cloud", had played subversively on the fact that "cloud water" was a traditional term for monks, who wandered without trace, yet "cloud rain" was a conventional idiom for the act of love. His image of the "red thread" ran through the austere surroundings of his poems as shockingly as the scarlet peonies of Akiko. And in his refusal to kowtow to convention, the maverick monk had turned every certainty on its head: whores, he said, could be like ideal monks - since they inhabited the ideal Zen state of "no min" - while monks, in selling themselves for gold brocade, were scarcely different from whores. Many of his verses trembled with this ambiguity. One couplet, taken one way, was translated as "Making distinctions between good and evil, the monk's skill lies in knowing the essential condition of the Buddha and the Devil"; taken another way, it meant: "That girl is no good, this one will do; the monk's skill is in having the appetite of a devilish Buddha.

In this way practice the meditation that observes How all outer and inner phenomena are no more Than images projected by the distorted mind Onto the according bases of imputation Not even an atom inherently exists. Thus become wise in how all things in both Samsara and Nirvana are mere mental labels; But how nonetheless they continue to function By the unfailing laws of cause and effect.

But one clue for which no such argument can be made is hidden in Michelangelo’s depiction of the Cumaean Sibyl : In this work, Michelangelo added the infamous ‘sixth knuckle’ to the muscular lady-giant’s left fist (image). The verse below will explain the meaning of this beast

These four verses tell us what God wants to do with us. He doesn’t want to simply eliminate your anxious thoughts: He wants to remake you. Fix you. Change you. Improve you. Conform you into His very image. God does not just zap you and change you; God’s Holy Spirit changes you as you read His Holy Spirit–inspired Word. Want change? Read your Bible. And read it right! Unfortunately, many people read the Bible wrong and never find the comfort they seek.

Walter was next heard from in September, when he leafleted the neighborhood under cover of night. The Dent and Dolberg houses were standing empty now, their windows darkened like the call-holding lights of emergency-hotline callers who’d finally quietly hung up, but the remaining residents of Canterbridge Estates all awoke one morning to find on their doorsteps a politely worded “Dear Neighbors” letter, rehashing the anticat arguments that Walter had presented twice already, and four attached pages of photographs that were the opposite of polite. Walter had apparently spent the entire summer documenting bird deaths on his property. Each picture (there were more than forty of them) was labeled with a date and a species. The Canterbridge families who didn’t own cats were offended to have been included in the leafleting, and the families who did own them were offended by Walter’s seeming certainty that every bird death on his property was the fault of their pets. Linda Hoffbauer was additionally incensed that a leaflet had been left where one of her children could easily have been exposed to traumatizing images of headless sparrows and bloody entrails. She called the county sheriff, with whom she and her husband were social, to see whether perhaps Walter was guilty of illegal harassment. The sheriff said that Walter wasn’t, but he agreed to stop by his house and have a word of warning with him—a visit that yielded the unexpected news that Walter had a law degree and was versed not only in his First Amendment rights but also in the Canterbridge Estates homeowners covenant, which contained a clause requiring pets to be under the control of their owners at all times; the sheriff advised Linda to shred the leaflet and move on.

I am prone to prefer people who are like me-- in color, culture, heritage and history..the creation of man and woman in the image of God with equal dignity before God..this means that no human being is more or less human that another..for in the process of discussing our diversity in terms of different "races," we are undercutting our unity in the human race..instead of being strictly tied to biology, ethnicity is much more fluid, factoring in social, cultural, lingual, historical, and even religious characteristics..The pages of the Bible and human history are thus filled with an evil affinity for ethnic animosity..God promises to bless these ethnic Israelites, but the purpose of his blessing extends far beyond them..[it is] his desire for all nations to behold his greatness and experience his grace..When Jesus comes to the earth in the New Testament, we are quickly introduced to him as an immigrant..he nevertheless reaches beyond national boundaries at critical moments to love, serve, teach, heal, and save Canaanites and Samaritans, Greeks and Romans..he came as Savior and Lord over all..Though Gentiles were finally accepted into the church, they felt at best like second-class Christians..the Bible doesn't deny the obvious ethnic, cultural, and historical differences that distinguish us from one another..diversifies humanity according to clans and lands as a creative reflection of his grace and glory in distinct groups of people. In highlighting the beauty of such diversity, the gospel thus counters the mistaken cultural illusion that the path to unity is paved by minimizing what makes us unique. Instead, the gospel compels us to celebrate our ethnic distinctions, value our cultural differences, and acknowledge our historical diversity..(In reference to Galations 3:28) some people might misconstrue this verse..to say that our differences don't matter. But they do..It is not my aim here to stereotype migrant workers..It is also not my aim to oversimplify either the plight of immigrants in our country or the predicament of how to provide for them..Consequently, followers of Christ must see immigrants not as problems to be solved but as people to be loved. The gospel compels us in our culture to decry any and all forms of oppression, exploitation, bigotry, or harassment of immigrants..[we] will stand as one redeemed race to give glory to the Father who calls us not sojourners or exiles, but sons and daughters.