THE GOLDEN STAIRCASE Poems and Verses for Children
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CHS 57 Philemon
Sermon #3103 Metropolitan Tabernacle Pulpit 1 A PASTORAL VISIT NO. 3103 A SERMON PUBLISHED ON THURSDAY, JULY 30, 1908. DELIVERED BY C. H. SPURGEON, AT THE METROPOLITAN TABERNACLE, NEWINGTON. “The Church in your house.” Philemon 1:2. SOME interpreters have supposed that a small congregation met for worship in a room in Philemon’s house and there is a tradition that such was the case for some considerable time. The Churches established by Paul were, at their commencement, for the most part small. Obliged—for the sake of peace and to avoid persecution—to meet in out of-the-way places where they were not likely to be seen by foes, the retired house of some well-known friend, perhaps that of the minister, if it had a room conveniently large, would be the natural place for Believers to gather together in those early Churches. Philemon, therefore, might literally have had a Church in his house and a congregation might have gathered there. It strikes me that there would be a great deal of good done if persons who have large rooms in their houses would endeavor to get together little congregations. There are many, even of our poorer friends, who live in neighborhoods of London destitute of the means of Grace, who might promote a great blessing if they occasionally opened their houses for a Prayer Meeting or religious assembly. We need no consecrated places for the worship of God— “Wherever we seek Him, He is found, And every place is hallowed ground.” Certainly our text does not give any countenance to the calling of certain buildings “Churches.” Buildings for worship, whether erected by Episcopalians or Dissenters, are frequently called “Churches.” If I ask for “the church” in any town, I am forthwith directed to an edifice, probably with a spire or a steeple, which the inhabitants call “the church.” Why, they might as well point me to a signpost when I asked for a man—a building cannot be a Church! A Church is an assembly of faithful men and it cannot be anything else. -
Dante Gabriel Rossetti - Poems
Classic Poetry Series Dante Gabriel Rossetti - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Dante Gabriel Rossetti(12 May 1828 – 9 April 1882) Rossetti was born, the son of an Italian patriot and political refugee and an English mother, in England. He was raised in an environment of cultural and political activity that, it has been suggested, was of more import to his learning than his formal education. This latter was constituted by a general education at King's College from 1836 to 1841 and, following drawing lessons at a school in central London at the age of fourteen, some time as a student at the Royal Academy from 1845 onwards. Here he studied painting with William Hollman Hunt and John Everett Millais who, in 1848, would set up the Pre-Raphaelite Brotherhood with Rossetti, Rossetti's younger brother and three other students. The school's aspirations, in this its first incarnation, was to paint true to nature: a task pursued by way of minute attention to detail and the practice of painting out of doors. Rossetti's principal contribution to the Brotherhood was his insistence on linking poetry and painting, no doubt inspired in part by his earlier and avaricious readings of Keats, Shakespeare, Goethe, Sir Walter Scott, Byron, Edgar Allan Poe and, from 1847 onwards, the works of William Blake. 'The Germ' lasted however for only four issues, all published in 1850. In 1854 Rossetti met and gained an ally in the art critic John Ruskin and, two years later, meetings with Edward Burne-Jones and William Morris set a second phase of the Brotherhood into movement. -
The Letters of HPB AP Sinnett
Theosophical University Press Online Edition The Letters of H. P. Blavatsky to A. P. Sinnett and Other Miscellaneous Letters Transcribed, Compiled, and with an Introduction A. T. Barker Facsimile of the First Edition, 1925; print edition published by Theosophical University Press 1973 (print version also available); electronic edition published 1999. Electronic version ISBN 1-55700-145-6. This edition may be downloaded for off-line viewing without charge. For ease of searching, no diacritical marks appear in this electronic version of the text. Contents Compiler's Preface Introduction Specimen of HPB's Handwriting Table of Contents ". It was thy patience that in the waste attended still thy step, and saved MY friend for better days. What cannot patience do. A great design is seldom snatched at once, 'tis PATIENCE heaves it on. ." — K. H. COMPILER'S PREFACE The letters here presented to the reader, written by the Founder of the Theosophical Society between the years 1880-1888, are intended to form a companion volume to the recently published Mahatma Letters, and should be read in conjunction with that work. They have been transcribed direct from the originals and without omission except for the occasional deletion of a name where-ever for obvious reasons it was absolutely necessary to do so. Contrary to the method employed in The Mahatma Letters, the compiler has permitted himself to correct obvious errors of spelling and punctuation, as these were too numerous to ignore, and no useful purpose could be served by leaving them unedited. Here and there in the text a word appears in square brackets. -
Slate.Com Table of Contents Explainer Can You Be a Gay Mormon?
Slate.com Table of Contents explainer Can You Be a Gay Mormon? fighting words Advanced Search Fidel Gets Religion architecture foreigners For Sale: 200,000-Square-Foot Box Still Waiting for Chinese Democracy books foreigners How To Read the Quran War of Words books gabfest The Dark Matter of Our Cherished Document The Quaker Meeting Gabfest corrections gaming Corrections Wii Will Rock You! culture gabfest hey, wait a minute The Culture Gabfest, Identity Crisis Edition Only in America? culturebox hot document I Vant To Upend Your Expectations CBS's Dream Team culturebox human nature The J. Crew Catalog Destroyed My Spirit Children of the Clones dear prudence human nature The Devil, They Say Drone Ask, Drone Tell drink jurisprudence What To Drink on Thanksgiving I Beg Your Pardon dvd extras low concept Buster Keaton's The General Dear President Obama explainer moneybox Explainer's Wildfire Roundup Harvard's Investment Errors explainer moneybox The Globavore's Dilemma The Subprime Good Guys explainer movies Explainer's Same-Sex-Marriage Roundup Twilight explainer music box The Evergold State Welcome to the Jumble explainer other magazines Explainer's Pirate Roundup America's Checkup explainer other magazines Measuring the National Carbon Footprint The Redprint explainer poem Behold the Power of Michelle "Omaha Beach" explainer politics The Millionaire Arsonist Dingell Buried Copyright 2007 Washingtonpost.Newsweek Interactive Co. LLC 1/85 politics the undercover economist Obama's White House, Clinton's Team Only the Good Buy Young politics -
Art Assignment #8
Art Assignment #8 Van Gogh Unit Van Gogh Reading/Reading Guide Due Friday, May 15, @4p Dear Art Class, Please read pages 39-61 of the van Gogh book and answer questions 79-139 of the reading guide. Please start this assignment right away. Try to pace yourself and answer at 15 questions per day. If you are part of Google Classroom turn in your google doc there. Please start a new Google Doc with questions and answers. Good luck! Hope everyone is doing well! Mr. Kohn VAN GOGH BOOK READING GUIDE QUESTIONS Pages 39-61 Vincent the Dog 1883-85 I am getting to be like a dog, I feel that the future will probably make me more ugly and rough, and I foresee that “a certain poverty” will be my fate, but, I shall be a painter. --Letter to Theo, December 1883 Vincent came home ready to give his parents another chance to do the right thing. If only his father would apologize for throwing him out of the house, they could all settle down to the important business of Vincent’s becoming an artist. Mr. van Gogh didn’t see it that way. He and Vincent’s mother welcomed their thirty-year-old problem child, but they were ambivalent at the prospect of having him back in the nest. After a few days Vincent wrote humorously yet bitterly to Theo, comparing himself to a stray dog. 39 Dear brother, I feel what Father and Mother think of me instinctively(I do not say intelligently). They feel the same dread of taking me in the house as they would about taking in a big rough dog. -
American Foreign Policy, the Recording Industry, and Punk Rock in the Cold War
Georgia State University ScholarWorks @ Georgia State University History Dissertations Department of History Spring 5-10-2017 Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War Mindy Clegg Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/history_diss Recommended Citation Clegg, Mindy, "Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War." Dissertation, Georgia State University, 2017. https://scholarworks.gsu.edu/history_diss/58 This Dissertation is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. MUSIC FOR THE INTERNATIONAL MASSES: AMERICAN FOREIGN POLICY, THE RECORDING INDUSTRY, AND PUNK ROCK IN THE COLD WAR by MINDY CLEGG Under the Direction of ALEX SAYF CUMMINGS, PhD ABSTRACT This dissertation explores the connections between US foreign policy initiatives, the global expansion of the American recording industry, and the rise of punk in the 1970s and 1980s. The material support of the US government contributed to the globalization of the recording industry and functioned as a facet American-style consumerism. As American culture spread, so did questions about the Cold War and consumerism. As young people began to question the Cold War order they still consumed American mass culture as a way of rebelling against the establishment. But corporations complicit in the Cold War produced this mass culture. Punks embraced cultural rebellion like hippies. -
Pre-Raphaelites and the Book
Pre-Raphaelites and the Book February 17 – August 4, 2013 National Gallery of Art Pre-Raphaelites and the Book Many artists of the Pre-Raphaelite circle were deeply engaged with integrating word and image throughout their lives. John Everett Millais and Edward Burne-Jones were sought-after illustrators, while Dante Gabriel Rossetti devoted himself to poetry and the visual arts in equal measure. Intensely attuned to the visual and the liter- ary, William Morris became a highly regarded poet and, in the last decade of his life, founded the Kelmscott Press to print books “with the hope of producing some which would have a definite claim to beauty.” He designed all aspects of the books — from typefaces and ornamental elements to layouts, where he often incorporated wood- engraved illustrations contributed by Burne-Jones. The works on display here are drawn from the National Gallery of Art Library and from the Mark Samuels Lasner Collection, on loan to the University of Delaware Library. front cover: William Holman Hunt (1827 – 1910), proof print of illustration for “The Lady of Shalott” in Alfred Tennyson, Poems, London: Edward Moxon, 1857, wood engraving, Mark Samuels Lasner Collection, on loan to the University of Delaware Library (9) back cover: Dante Gabriel Rossetti (1828 – 1882), proof print of illustration for “The Palace of Art” in Alfred Tennyson, Poems, London: Edward Moxon, 1857, wood engraving, Mark Samuels Lasner Collection, on loan to the University of Delaware Library (10) inside front cover: John Everett Millais, proof print of illustration for “Irene” in Cornhill Magazine, 1862, wood engraving, Mark Samuels Lasner Collection, on loan to the University of Delaware Library (11) Origins of Pre-Raphaelitism 1 Carlo Lasinio (1759 – 1838), Pitture a Fresco del Campo Santo di Pisa, Florence: Presso Molini, Landi e Compagno, 1812, National Gallery of Art Library, A.W. -
Western University London Canada Department of English English
Western University London Canada Department of English English 4420F: The Pre-Raphaelites Unless otherwise indicated, all texts are in Rossetti’s Collected Poetry and Prose. Ed. Jerome McGann. Not all the poems listed under a given date will be covered in the same amount of detail, but they will be given prominence if they are selected by one or more members of the seminar as the focus of a short essay. Members of the seminar are encouraged to range widely in Rossetti’s work, both literary and artistic, and incorporate their findings and insights into our discussions. Owing to the overlaps between and among different strains of Rossetti’s work, the readings after the Fall Study Break provide considerable flexibility Seminar Schedule and Readings: September 10 Preamble September 17 Introduction Readings: Pugin, Collinson, Stephens, Ruskin (handouts) September 24 Introduction “Mary’s Girlhood (For a Picture)” October 1 Marian Paintings and Poems Readings: “Filii Filia,” “Mary’s Girlhood (For a Picture),” “For a Virgin and Child by Hans Memmelink,” “For a Marriage of St. Catherine by the Same,” “Ave,” “The Passover of the Holy Family (For a Drawing,” “Sudden Light,” “For ‘Our Lady of the Rocks’ by Leonardo da Vinci” October 8 Pre-Raphaelite Manifestos Readings: “Old and New Art,” ‘Hand and Soul” October 15 Early Poems Readings: “My Sister’s Sleep,” “The Blessed Damozel,” “The Burden of Nineveh,” “The Staff and Scrip,” “A Lsst Confession,” “The Bride’s Prelude” October 22 The “Fallen Woman” Readings: “The Honeysuckle,” “Found (For a Picture),” “Mary Magdalene at the Door of Simon the Pharisee (For a Drawing),” “Jenny” October 29 The Femme Fatale Readings: “The Card-Dealer,” “Troy Town,” “Body’s Beauty,” “Eden Bower,” “The Orchard Pit” (both prose and poem), “Pandora (For a Picture),” “Lilith. -
The Tour Manual 2019
THE TOUR MANUAL Last Edited 5/27/2019 2019 Volume 2 Table of Contents General Information Mission, Vision, Values, Educational Goals, & Ethics ....................................... pg. 3 General Admission Tour Information: Floors 1, 2, & Basement ...................... pg. 5 Full Mansion Tour ............................................................................................... pg. 21 Nooks and Crannies ........................................................................................... pg. 29 Flashlight Tour .................................................................................................... pg. 43 Servants Tour ...................................................................................................... pg. 49 Limited Mobility Tour ......................................................................................... pg. 65 Summer Evening Tour ........................................................................................ pg. 66 Garden & Grounds Tour ..................................................................................... pg. 67 Reference Congdon Family Timeline ................................................................................. pg. 91 Duluth Timeline 1874 - 1915 ............................................................................ pg. 92 National Timeline ............................................................................................... pg. 94 Oliver Mining Company History ...................................................................... -
William Morris: the Modern Self, Art, and Politics
UC Berkeley UC Berkeley Previously Published Works Title William Morris: The Modern Self, Art, and Politics Permalink https://escholarship.org/uc/item/9hq08668 Journal History of European Ideas, 24 Author Bevir, Mark Publication Date 1998 Peer reviewed eScholarship.org Powered by the California Digital Library University of California WILLIAM MORRIS: THE MODERN SELF, ART, AND POLITICS By Mark Bevir Department of Politics University of Newcastle Newcastle upon Tyne NE1 7RU U.K. [Email: [email protected]] 2 ABSTRACT A concern to pin ideological labels on Morris has obscured the continuing importance of romanticism and Protestantism for his socialist politics. Romanticism led him to seek self-realisation in an art based on naturalness and harmony, and Protestantism led him to do so in the everyday worlds of work and domestic life. From Ruskin, he took a sociology linking the quality of art to the extent of such self- realisation in daily life. Even after he turned to Marxism, he still defined his socialist vision in terms of good art produced and enjoyed within daily life. Moreover, his over-riding concern to promote a new spirit of art, not his dislike of Hyndman, led him to a purist politics, that is, to look with suspicion on almost all forms of political action. 2 3 WILLIAM MORRIS: THE MODERN SELF, ART, AND POLITICS Keywords: Morris, Socialism, Art, Self, Romanticism, Protestantism I William Morris, 1834-98, is best known as a poet and designer who inspired the Arts and Crafts Movement. But he was also an important socialist and utopian theorist, arguably the most influential, and surely the most inspirational, writer on the left in Britain. -
The Arabian Nights Entertainments
The Arabian Nights Entertainments Sir Richard Burton The Arabian Nights Entertainments Table of Contents The Arabian Nights Entertainments.......................................................................................................................1 Sir Richard Burton.........................................................................................................................................1 i The Arabian Nights Entertainments Sir Richard Burton In the Name of Allah, the Compassionating, the Compassionate! PRAISE BE TO ALLAH − THE BENEFICENT KING − THE CREATOR OF THE UNIVERSE − LORD OF THE THREE WORLDS − WHO SET UP THE FIRMAMENT WITHOUT PILLARS IN ITS STEAD − AND WHO STRETCHED OUT THE EARTH EVEN AS A BED − AND GRACE, AND PRAYER−BLESSING BE UPON OUR LORD MOHAMMED − LORD OF APOSTOLIC MEN − AND UPON HIS FAMILY AND COMPANION TRAIN −PRAYER AND BLESSINGS ENDURING AND GRACE WHICH UNTO THE DAY OF DOOM SHALL REMAIN − AMEN! − O THOU OF THE THREE WORLDS SOVEREIGN! AND AFTERWARD. Verily the works and words of those gone before us have become instances and examples to men of our modern day, that folk may view what admonishing chances befell other folk and may therefrom take warning; and that they may peruse the annals of antique peoples and all that hath betided them, and be thereby ruled and restrained. Praise, therefore, be to Him who hath made the histories of the past an admonition unto the present! Now of such instances are the tales called "A Thousand Nights and a Night," together with their far−famed legends and wonders. Therein it is related (but Allah it is All−knowing of His hidden things and All−ruling and All−honored and All−giving and All−gracious and All−merciful!) that in tide of yore and in time long gone before, there was a King of the Kings of the Banu Sasan in the islands of India and China, a Lord of armies and guards and servants and dependents. -
The Pre-Raphaelite Brotherhood: Painting
Marek Zasempa THE PRE-RAPHAELITE BROTHERHOOD: PAINTING VERSUS POETRY SUPERVISOR: prof. dr hab. Wojciech Kalaga Completed in partial fulfilment of the requirements for the degree of PhD. UNIVERSITY OF SILESIA KATOWICE 2008 Marek Zasempa BRACTWO PRERAFAELICKIE – MALARSTWO A POEZJA PROMOTOR: prof. dr hab. Wojciech Kalaga UNIWERSYTET ŚLĄSKI KATOWICE 2008 CONTENTS INTRODUCTION .................................................................................................................. 1 CHAPTER 1: THE PRE-RAPHAELITE BROTHERHOOD: ORIGINS, PHASES AND DOCTRINES ............................................................................................................. 7 I. THE GENESIS .............................................................................................................................. 7 II. CONTEMPORARY RECEPTION AND CRITICISM .............................................................. 10 III. INFLUENCES ............................................................................................................................ 11 IV. THE TECHNIQUE .................................................................................................................... 15 V. FEATURES OF PRE-RAPHAELITISM: DETAIL – SYMBOL – REALISM ......................... 16 VI. THEMES .................................................................................................................................... 20 A. MEDIEVALISM ........................................................................................................................................