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Friday, 2 May 2025   And when the demon was cast out, the mute spoke. And the multitudes marveled, saying, “It was never seen like this in Israel!” Matthew 9:33   “And the demon, having been ejected, the mute – he spoke. And the crowds, they marveled, saying that never it appeared thus in Israel” (CG).   In the previous verse, a demon-possessed man who was mute was brought to Jesus. That thought now continues with, “And the demon, having been ejected.”   The surrounding details that took place are omitted. At other times, Jesus may ask a question or make some sort of statement in connection with a miracle, and that was surely the case at this time as well. However, the narrative is focusing on the miracle for effect. The mute man, who was also demon possessed, was brought forward, and the narrative goes right to the fact that the demon is ejected. With that accomplished, it next says, “the mute – he spoke.”   This would be as incredible as healing the blind. A mute person has some sort of cause for his condition. In his case, it is attributed to being demon-possessed. Jesus' authority over the demon is made manifest in His ability to cast it out. If the demon is under authority, meaning under Satan, it demonstrates that Jesus' abilities are greater than those of the house of Satan.   This is an important consideration because of what is recorded in the next verse. For now, however, those who beheld the miracle were amazed, as it next says, “And the crowds, they marveled.”   With the healing accomplished, the masses could hardly believe what their eyes saw. Even today, such a display would be considered incredible. It is one thing to go to a doctor, schedule surgery or some type of lengthy rehab, or take some other avenue to be cured of such things, and another to have someone taken to another person who immediately cures him of some major ailment. And yet, this is just what Matthew records. Therefore, the people were “saying that never it appeared thus in Israel.”   The words are debated over because such a statement is not usually made. People are cured of major issues by Jesus, the young girl was raised to life, etc., but this expression is a mark of something inordinate, as if healing a mute man is more exceptional than the other miracles.   Because of this, fanciful explanations have been made up over the years. One such explanation is that it was common to ask the name of a demon. By knowing its name, its source of power could be determined, and therefore, it could be properly handled. However, because this man is deaf, Jesus was exercising a power over an unnamed demon, something never seen before.   The explanation is ridiculous. There is nothing to even hint at this, but because it is sensational, people will pass it on as if it is true. Rather, the words “never it appeared thus in Israel” are a summary of everything thus far presented while Jesus is in Capernaum.   He had arrived there, and right in the middle of reclining, He was asked to come and restore a girl who had died to life. On the way to do this, a woman who had bled for twelve years was restored by faith. All she did was reach out to Him, and she was healed. After that, the young girl's life was restored. That was followed by the two blind men having their sight restored, and then this mute man having a demon ejected. This then loosened the man's tongue to speak.   Because of all of these marvelous things happening in rapid succession, the people of Capernaum were exceedingly astonished and made their exclamation that Israel had never seen such things. Throughout their Scriptures, which extensively cover their history and the lives of many prophets, nothing like this had ever been seen.   Life application: When watching videos or reading commentaries about the Bible, be careful not to accept what you read without checking things out. Innumerable falsities have become accepted explanations of things because people don't know how to otherwise explain them, and so they make something up out of thin air.   In a similar fashion, there are innumerable Jewish traditions (at times, invented Jewish traditions) that are inserted into the Bible in an attempt to explain matters. By saying, “The Jews often did xx and this is what Jesus is basing His example on,” a seeming note of authority is assigned to the explanation. In other words, “If the Jews did this, God must be using their tradition to explain His word.”   A major problem with that is that it makes God's word subject to some supposed Jewish cultural tradition. This is especially problematic when there actually is no such tradition. Rather, we must let Scripture interpret Scripture. To assign meaning to events in the Bible that come from outside of it destroys the integrity of what the Bible is presenting. It becomes an “anything means anything” approach to explaining Scripture.   Be careful of what you believe until you can verify that the matter is true. More often than not, if it sensationally explains the matter, you will find it is not.   Lord God, the record of Jesus' miracles as He ministered to Israel is extensive. They are laid out in a manner that tells us, with all certainty, that He is the Messiah. Despite this, the people as a whole rejected Him. We lift up the nation of Israel today, praying that many will have their eyes opened to the truth of what You have done through the coming of Jesus. Amen.

As a monk, he was known for his very severe asceticism. Against his will, he was made Bishop of Zahum, where he served his flock faithfully for many years, "keeping it from the cruelty of the Turks and the guile of the Latins" (Prologue). When his monastery was destroyed by the Turks he moved to Ostrog, where he reposed. His body has remained whole, incorrupt, healing and wonderworking to this day. Innumerable miracles have been worked at his grave; both Christians and Muslims seek out his relics for healing from sicknesses and sufferings.   (A story heard from a parishioner at St Basil of Ostrog Church in Illinois: while the Saint's relics remain intact, reputedly his shoes wear out from time to time and need to be replaced.)

Sunday, 27 April 2025   And when He had come into the house, the blind men came to Him. And Jesus said to them, “Do you believe that I am able to do this?” They said to Him, “Yes, Lord.” Matthew 9:28   “And having come into the house, they came to Him – the blind – and Jesus, He says to them, ‘You believe that I can do this?' They say to Him, ‘Yes, Lord'” (CG).   In the previous verse, Jesus departed from the ruler's house, and two blind men followed Him, crying out for mercy upon them. Now, the narrative continues with, “And having come into the house, they came to Him – the blind.”   It doesn't say what house He went into, but the use of the definite article means it is a particular house. Verse 10 of this chapter mentions a house, but it doesn't say which. But going back to the previous chapter, verse 8:14 specifically notes Peter's house. So this may be the house being referred to.   Either way, it doesn't say why He didn't just stop and turn to them as they followed Him. But it may be that He wanted His next actions to be in a private setting. Therefore, now in the house with the two blind men there, it next says, “and Jesus, He says to them, ‘You believe that I can do this?'”   What seems apparent is that they did believe. Calling out to Jesus for Him to have mercy on them means they understood His capabilities. Continuing to follow Him in a blind state, even to the house He was staying in, demonstrated this as well. Therefore, the question is probably for faith-building.   Such questions span human history and innumerable circumstances. A question like this might be asked by a gym coach to spur on an already-capable student, “Are you really sure you can do this?” “Yes, I am confident I can.”   Jesus wants them mentally prepared for what He certainly already intends to do. Therefore, the question is asked. And as anticipated, “They say to Him, ‘Yes, Lord.'”   They already knew this, but their own words have testified to Him and also encouraged their own faith. They are prepared for what lies ahead...   Life application: Innumerable books have been written about confidence-building. Seminars are held on the subject. People living in clamshells are spurred on to break free and live an emboldened life.   These things are common to human nature, and different levels of confidence exist in all of us. Some of us may be fully confident in one matter and yet totally reluctant to act in another. There is nothing wrong with this. Those who are overconfident will often cause more trouble than their confidence supports.   For example, a person may be so sure of himself that he decides to tear out his wall and fix a leaky pipe by himself. In doing so, he forgets that he doesn't know everything about the entire process of hydraulics or maybe structural engineering, or even the nuances of electrical wiring.   Without understanding the whole process, he may bust the pipe while under pressure and cause tens of thousands of dollars of water damage. Or he may cause a wall to collapse or otherwise be so damaged that he will need a crew of specialists to fix it. Or he may need a coffin because he didn't think about live wiring while standing in a pool of water that had dripped on the floor.   After a short adventure of hair standing on its end, he collapses like a bunch of broccoli, never to rise again. Thus, it is good not to be overly confident. And yet, when things are lined up properly and the outcome appears certain, we shouldn't hesitate to act.   It is true that there may be some small point that was overlooked that may end in a negative outcome, but this is what the clam dwellers fear to the point of complete inability to act. There needs to be a point where we will allow for error if the outcome has a high enough probability of success.   At the same time, we need to be willing to accept the results of defeat without becoming so stressed that we allow it to shape the rest of our lives. Where the balance in such situations is will be hard to determine at times, but that is where prayer comes in.   We have access to the Creator of all things. And so, if we have things set to the highest probability of success and are still reticent, we should have already prayed that the Lord will be with us through the process. If there is failure, we can accept that He allowed it for His purposes. This is true if we really believe in God's unlimited wisdom and power and the power of prayer that He has allowed us, as explained in His word.   We have what no other people on the planet have, absolute and certain access to the throne of grace, where we can go in times of need. Let us use this most important tool as we move forward in life from decision to decision.   Lord God, help us to be people of prayer as we walk in Your presence. From moment to moment, may our existence be filled with communication with You to help us as we continue this path through life. We know that You are as close to us as the spoken breath we utter for our needs, thanks, and praises. Thank You for this knowledge. Amen.  

In this episode, James Marriott and I discuss who we think are the best twenty English poets. This is not the best poets who wrote in English, but the best British poets (though James snuck Sylvia Plath onto his list…). We did it like that to make it easier, not least so we could base a lot of our discussion on extracts in The Oxford Book of English Verse (Ricks edition). Most of what we read out is from there. We read Wordsworth, Keats, Hardy, Milton, and Pope. We both love Pope! (He should be regarded as one of the very best English poets, like Milton.) There are also readings of Herrick, Bronte, Cowper, and MacNiece. I plan to record the whole of ‘The Eve of St. Agnes' at some point soon.Here are our lists and below is the transcript (which may have more errors than usual, sorry!)HOGod Tier* Shakespeare“if not first, in the very first line”* Chaucer* Spenser* Milton* Wordsworth* Eliot—argue for Pope here, not usually includedSecond Tier* Donne* Herbert* Keats* Dryden* Gawain poet* Tom O'Bedlam poetThird Tier* Yeats* Tennyson* Hopkins* Coleridge* Auden* Shelley* MarvellJMShakespeareTier* ShakespeareTier 1* Chaucer* Milton* WordsworthTier 2* Donne* Eliot* Keats* Tennyson* Spencer* Marvell* PopeTier 3* Yeats* Hopkins* Blake* Coleridge* Auden* Shelley* Thomas Hardy* Larkin* PlathHenry: Today I'm talking to James Marriott, Times columnist, and more importantly, the writer of the Substack Cultural Capital. And we are going to argue about who are the best poets in the English language. James, welcome.James: Thanks very much for having me. I feel I should preface my appearance so that I don't bring your podcast and disrepute saying that I'm maybe here less as an expert of poetry and more as somebody who's willing to have strong and potentially species opinions. I'm more of a lover of poetry than I would claim to be any kind of academic expert, just in case anybody thinks that I'm trying to produce any definitive answer to the question that we're tackling.Henry: Yeah, no, I mean that's the same for me. We're not professors, we're just very opinionated boys. So we have lists.James: We do.Henry: And we're going to debate our lists, but what we do agree is that if we're having a top 20 English poets, Shakespeare is automatically in the God Tier and there's nothing to discuss.James: Yeah, he's in a category of his own. I think the way of, because I guess the plan we've gone for is to rather than to rank them 1, 2, 3, 4, 5, 6, 7 into sort of, what is it, three or four broad categories that we're competing over.Henry: Yes, yes. TiersJames: I think is a more kind of reasonable way to approach it rather than trying to argue exactly why it should be one place above Shelly or I don't know, whatever.Henry: It's also just an excuse to talk about poets.James: Yes.Henry: Good. So then we have a sort of top tier, if not the first, in the very first line as it were, and you've got different people. To me, you've got Chaucer, Milton, and Wordsworth. I would also add Spenser and T.S. Eliot. So what's your problem with Spenser?James: Well, my problem is ignorance in that it's a while since I've read the Fairy Queen, which I did at university. Partly is just that looking back through it now and from what I remember of university, I mean it is not so much that I have anything against Spenser. It's quite how much I have in favour of Milton and Wordsworth and Chaucer, and I'm totally willing to be argued against on this, but I just can't think that Spenser is in quite the same league as lovely as many passages of the Fairy Queen are.Henry: So my case for Spenser is firstly, if you go through something like the Oxford Book of English Verse or some other comparable anthology, he's getting a similar page count to Shakespeare and Milton, he is important in that way. Second, it's not just the fairy queen, there's the Shepherd's Calendar, the sonnets, the wedding poems, and they're all highly accomplished. The Shepherd's Calendar particularly is really, really brilliant work. I think I enjoyed that more as an undergraduate, actually, much as I love the Fairy Queen. And the third thing is that the Fairy Queen is a very, very great epic. I mean, it's a tremendous accomplishment. There were lots of other epics knocking around in the 16th century that nobody wants to read now or I mean, obviously specialists want to read, but if we could persuade a few more people, a few more ordinary readers to pick up the fairy queen, they would love it.James: Yes, and I was rereading before he came on air, the Bower of Bliss episode, which I think is from the second book, which is just a beautifully lush passage, passage of writing. It was really, I mean, you can see why Keats was so much influenced by it. The point about Spenser's breadth is an interesting one because Milton is in my top category below Shakespeare, but I think I'm placing him there pretty much only on the basis of Paradise Lost. I think if we didn't have Paradise Lost, Milton may not even be in this competition at all for me, very little. I know. I don't know if this is a heresy, I've got much less time for Milton's minor works. There's Samuel Johnson pretty much summed up my feelings on Lycidas when he said there was nothing new. Whatever images it can supply are long ago, exhausted, and I do feel there's a certain sort of dryness to Milton's minor stuff. I mean, I can find things like Il Penseroso and L'Allegro pretty enough, but I mean, I think really the central achievement is Paradise Lost, whereas Spenser might be in contention, as you say, from if you didn't have the Fairy Queen, you've got Shepherd's Calendar, and all this other sort of other stuff, but Paradise Lost is just so massive for me.Henry: But if someone just tomorrow came out and said, oh, we found a whole book of minor poetry by Virgil and it's all pretty average, you wouldn't say, oh, well Virgil's less of a great poet.James: No, absolutely, and that's why I've stuck Milton right at the top. It's just sort of interesting how unbelievably good Paradise Lost is and how, in my opinion, how much less inspiring the stuff that comes after it is Samson Agonistes and Paradise Regained I really much pleasure out of at all and how, I mean the early I think slightly dry Milton is unbelievably accomplished, but Samuel Johnson seems to say in that quote is a very accomplished use of ancient slightly worn out tropes, and he's of putting together these old ideas in a brilliant manner and he has this sort of, I mean I guess he's one of your late bloomers. I can't quite remember how old he is when he publishes Paradise Lost.Henry: Oh, he is. Oh, writing it in his fifties. Yeah.James: Yeah, this just extraordinary thing that's totally unlike anything else in English literature and of all the poems that we're going to talk about, I think is the one that has probably given me most pleasure in my life and the one that I probably return to most often if not to read all the way through then to just go over my favourite bits and pieces of it.Henry: A lot of people will think Milton is heavy and full of weird references to the ancient world and learned and biblical and not very readable for want of a better word. Can you talk us out of that? To be one of the great poets, they do have to have some readability, right?James: Yeah, I think so, and it's certainly how I felt. I mean I think it's not a trivial objection to have to Milton. It's certainly how I found him. He was my special author paper at university and I totally didn't get on with him. There was something about his massive brilliance that I felt. I remember feeling like trying to write about Paradise Lost was trying to kind of scratch a huge block of marble with your nails. There's no way to get a handle on it. I just couldn't work out what to get ahold of, and it's only I think later in adulthood maybe reading him under a little less pressure that I've come to really love him. I mean, the thing I would always say to people to look out for in Milton, but it's his most immediate pleasure and the thing that still is what sends shivers done my spine about him is the kind of cosmic scale of Paradise Lost, and it's almost got this sort of sci-fi massiveness to it. One of my very favourite passages, which I may inflict on you, we did agree that we could inflict poetry on one another.Henry: Please, pleaseJames: It's a detail from the first book of Paradise Lost. Milton's talking about Satan's architect in hell Mulciber, and this is a little explanation of who or part of his explanation of who Mulciber is, and he says, Nor was his name unheard or unadoredIn ancient Greece; and in Ausonian landMen called him Mulciber; and how he fellFrom Heaven they fabled, thrown by angry JoveSheer o'er the crystal battlements: from mornTo noon he fell, from noon to dewy eve,A summer's day, and with the setting sunDropt from the zenith, like a falling star,On Lemnos, th' Aegaean isle. Thus they relate,ErringI just think it's the sort of total massiveness of that universe that “from the zenith to like a falling star”. I just can't think of any other poet in English or that I've ever read in any language, frankly, even in translation, who has that sort of scale about it, and I think that's what can most give immediate pleasure. The other thing I love about that passage is this is part of the kind of grandeur of Milton is that you get this extraordinary passage about an angel falling from heaven down to th' Aegean Isle who's then going to go to hell and the little parenthetic remark at the end, the perm just rolls on, thus they relate erring and paradise lost is such this massive grand thing that it can contain this enormous cosmic tragedy as a kind of little parenthetical thing. I also think the crystal battlements are lovely, so wonderful kind of sci-fi detail.Henry: Yes, I think that's right, and I think it's under appreciated that Milton was a hugely important influence on Charles Darwin who was a bit like you always rereading it when he was young, especially on the beagle voyage. He took it with him and quotes it in his letters sometimes, and it is not insignificant the way that paradise loss affects him in terms of when he writes his own epic thinking at this level, thinking at this scale, thinking at the level of the whole universe, how does the whole thing fit together? What's the order behind the little movements of everything? So Milton's reach I think is actually quite far into the culture even beyond the poets.James: That's fascinating. Do you have a particular favourite bit of Paradise Lost?Henry: I do, but I don't have it with me because I disorganised and couldn't find my copy.James: That's fair.Henry: What I want to do is to read one of the sonnets because I do think he's a very, very good sonnet writer, even if I'm going to let the Lycidas thing go, because I'm not going to publicly argue against Samuel Johnson.When I consider how my light is spent,Ere half my days, in this dark world and wide,And that one Talent which is death to hideLodged with me useless, though my Soul more bentTo serve therewith my Maker, and presentMy true account, lest he returning chide;“Doth God exact day-labour, light denied?”I fondly ask. But patience, to preventThat murmur, soon replies, “God doth not needEither man's work or his own gifts; who bestBear his mild yoke, they serve him best. His stateIs Kingly. Thousands at his bidding speedAnd post o'er Land and Ocean without rest:They also serve who only stand and wait.”I think that's great.James: Yeah. Okay. It is good.Henry: Yeah. I think the minor poems are very uneven, but there are lots of gems.James: Yeah, I mean he is a genius. It would be very weird if all the minor poems were s**t, which is not really what I'm trying… I guess I have a sort of slightly austere category too. I just do Chaucer, Milton, Wordsworth, but we are agreed on Wordsworth, aren't we? That he belongs here.Henry: So my feeling is that the story of English poetry is something like Chaucer Spenser, Shakespeare, Milton, Wordsworth, T.S. Eliot create a kind of spine. These are the great innovators. They're writing the major works, they're the most influential. All the cliches are true. Chaucer invented iambic pentameter. Shakespeare didn't single handedly invent modern English, but he did more than all the rest of them put together. Milton is the English Homer. Wordsworth is the English Homer, but of the speech of the ordinary man. All these old things, these are all true and these are all colossal achievements and I don't really feel that we should be picking between them. I think Spenser wrote an epic that stands alongside the works of Shakespeare and Milton in words with T.S. Eliot whose poetry, frankly I do not love in the way that I love some of the other great English writers cannot be denied his position as one of the great inventors.James: Yeah, I completely agree. It's funny, I think, I mean I really do love T.S. Eliot. Someone else had spent a lot of time rereading. I'm not quite sure why he hasn't gone into quite my top category, but I think I had this—Henry: Is it because he didn't like Milton and you're not having it?James: Maybe that's part of it. I think my thought something went more along the lines of if I cut, I don't quite feel like I'm going to put John Donne in the same league as Milton, but then it seems weird to put Eliot above Donne and then I don't know that, I mean there's not a very particularly fleshed out thought, but on Wordsworth, why is Wordsworth there for you? What do you think, what do you think are the perms that make the argument for Wordsworth having his place at the very top?Henry: Well, I think the Lyrical Ballads, Poems in Two Volumes and the Prelude are all of it, aren't they? I'm not a lover of the rest, and I think the preface to the Lyrical Ballads is one of the great works of literary criticism, which is another coin in his jar if you like, but in a funny way, he's much more revolutionary than T.S. Eliot. We think of modernism as the great revolution and the great sort of bringing of all the newness, but modernism relies on Wordsworth so much, relies on the idea that tradition can be subsumed into ordinary voice, ordinary speech, the passage in the Wasteland where he has all of them talking in the bar. Closing time please, closing time please. You can't have that without Wordsworth and—James: I think I completely agree with what you're saying.Henry: Yeah, so I think that's for me is the basis of it that he might be the great innovator of English poetry.James: Yeah, I think you're right because I've got, I mean again, waiting someone out of my depth here, but I can't think of anybody else who had sort of specifically and perhaps even ideologically set out to write a kind of high poetry that sounded like ordinary speech, I guess. I mean, Wordsworth again is somebody who I didn't particularly like at university and I think it's precisely about plainness that can make him initially off-putting. There's a Matthew Arnold quote where he says of Wordsworth something like He has no style. Henry: Such a Matthew Arnold thing to say.James: I mean think it's the beginning of an appreciation, but there's a real blankness to words with I think again can almost mislead you into thinking there's nothing there when you first encounter him. But yeah, I think for me, Tintern Abbey is maybe the best poem in the English language.Henry: Tintern Abbey is great. The Intimations of Immortality Ode is superb. Again, I don't have it with me, but the Poems in Two Volumes. There are so many wonderful things in there. I had a real, when I was an undergraduate, I had read some Wordsworth, but I hadn't really read a lot and I thought of I as you do as the daffodils poet, and so I read Lyrical Ballads and Poems in Two Volumes, and I had one of these electrical conversion moments like, oh, the daffodils, that is nothing. The worst possible thing for Wordsworth is that he's remembered as this daffodils poet. When you read the Intimations of Immortality, do you just think of all the things he could have been remembered for? It's diminishing.James: It's so easy to get into him wrong because the other slightly wrong way in is through, I mean maybe this is a prejudice that isn't widely shared, but the stuff that I've never particularly managed to really enjoy is all the slightly worthy stuff about beggars and deformed people and maimed soldiers. Wandering around on roads in the lake district has always been less appealing to me, and that was maybe why I didn't totally get on with 'em at first, and I mean, there's some bad words with poetry. I was looking up the infamous lines from the form that were mocked even at the time where you know the lines that go, You see a little muddy pond Of water never dry. I've measured it from side to side, 'Tis three feet long and two feet wide, and the sort of plainness condescend into banality at Wordsworth's worst moments, which come more frequently later in his career.Henry: Yes, yes. I'm going to read a little bit of the Intimations ode because I want to share some of this so-called plainness at its best. This is the third section. They're all very short Now, while the birds thus sing a joyous song,And while the young lambs boundAs to the tabor's sound,To me alone there came a thought of grief:A timely utterance gave that thought relief,And I again am strong:The cataracts blow their trumpets from the steep;No more shall grief of mine the season wrong;I hear the Echoes through the mountains throng,The Winds come to me from the fields of sleep,And all the earth is gay;Land and seaGive themselves up to jollity,And with the heart of MayDoth every Beast keep holiday;—Thou Child of Joy,Shout round me, let me hear thy shouts, thou happy Shepherd-boy.And I think it's unthinkable that someone would write like this today. It would be cringe, but we're going to have a new sincerity. It's coming. It's in some ways it's already here and I think Wordsworth will maybe get a different sort of attention when that happens because that's a really high level of writing to be able to do that without it descending into what you just read. In the late Wordsworth there's a lot of that really bad stuff.James: Yeah, I mean the fact that he wrote some of that bad stuff I guess is a sign of quite how carefully the early stuff is treading that knife edge of tripping into banality. Can I read you my favourite bit of Tintern Abbey?Henry: Oh yes. That is one of the great poems.James: Yeah, I just think one of mean I, the most profound poem ever, probably for me. So this is him looking out over the landscape of Tinton Abbey. I mean these are unbelievably famous lines, so I'm sure everybody listening will know them, but they are so good And I have feltA presence that disturbs me with the joyOf elevated thoughts; a sense sublimeOf something far more deeply interfused,Whose dwelling is the light of setting suns,And the round ocean and the living air,And the blue sky, and in the mind of man:A motion and a spirit, that impelsAll thinking things, all objects of all thought,And rolls through all things. Therefore am I stillA lover of the meadows and the woodsAnd mountains; and of all that we beholdFrom this green earth; of all the mighty worldOf eye, and ear,—both what they half create,And what perceive; well pleased to recogniseIn nature and the language of the senseThe anchor of my purest thoughts, the nurse,The guide, the guardian of my heart, and soulOf all my moral being.I mean in a poem, it's just that is mind blowingly good to me?Henry: Yeah. I'm going to look up another section from the Prelude, which used to be in the Oxford Book, but it isn't in the Ricks edition and I don't really know whyJames: He doesn't have much of the Prelude does he?Henry: I don't think he has any…James: Yeah.Henry: So this is from an early section when the young Wordsworth is a young boy and he's going off, I think he's sneaking out at night to row on the lake as you do when you with Wordsworth, and the initial description is of a mountain. She was an elfin pinnace; lustilyI dipped my oars into the silent lake,And, as I rose upon the stroke, my boatWent heaving through the water like a swan;When, from behind that craggy steep till thenThe horizon's bound, a huge peak, black and huge,As if with voluntary power instinct,Upreared its head. I struck and struck again,And growing still in stature the grim shapeTowered up between me and the stars, and still,For so it seemed, with purpose of its ownAnd measured motion like a living thing,Strode after me. With trembling oars I turned,And through the silent water stole my wayBack to the covert of the willow tree;It's so much like that in Wordsworth. It's just,James: Yeah, I mean, yeah, the Prelude is full of things like that. I think that is probably one of the best moments, possibly the best moments of the prelude. But yeah, I mean it's just total genius isn't it?Henry: I think he's very, very important and yeah, much more important than T.S. Eliot who is, I put him in the same category, but I can see why you didn't.James: You do have a little note saying Pope, question mark or something I think, don't you, in the document.Henry: So the six I gave as the spine of English literature and everything, that's an uncontroversial view. I think Pope should be one of those people. I think we should see Pope as being on a level with Milton and Wordsworth, and I think he's got a very mixed reputation, but I think he was just as inventive, just as important. I think you are a Pope fan, just as clever, just as moving, and it baffles me that he's not more commonly regarded as part of this great spine running through the history of English literature and between Milton and Wordsworth. If you don't have Pope, I think it's a missing link if you like.James: I mean, I wouldn't maybe go as far as you, I love Pope. Pope was really the first perch I ever loved. I remember finding a little volume of Pope in a box of books. My school library was chucking out, and that was the first book of poetry I read and took seriously. I guess he sort of suffers by the fact that we are seeing all of this through the lens of the romantics. All our taste about Shakespeare and Milton and Spenser has been formed by the romantics and hope's way of writing the Satires. This sort of society poetry I think is just totally doesn't conform to our idea of what poetry should be doing or what poetry is. Is there absolutely or virtually nobody reads Dryden nowadays. It's just not what we think poetry is for that whole Augustine 18th century idea that poetry is for writing epistles to people to explain philosophical concepts to them or to diss your enemies and rivals or to write a kind of Duncia explaining why everyone you know is a moron. That's just really, I guess Byron is the last major, is the only of figure who is in that tradition who would be a popular figure nowadays with things like English bards and scotch reviewers. But that whole idea of poetry I think was really alien to us. And I mean I'm probably formed by that prejudice because I really do love Pope, but I don't love him as much as the other people we've discussed.Henry: I think part of his problem is that he's clever and rational and we want our poems always to be about moods, which may be, I think why George Herbert, who we've both got reasonably high is also quite underrated. He's very clever. He's always think George Herbert's always thinking, and when someone like Shakespeare or Milton is thinking, they do it in such a way that you might not notice and that you might just carry on with the story. And if you do see that they're thinking you can enjoy that as well. Whereas Pope is just explicitly always thinking and maybe lecturing, hectoring, being very grand with you and as you say, calling you an idiot. But there are so many excellent bits of Pope and I just think technically he can sustain a thought or an argument over half a dozen or a dozen lines and keep the rhyme scheme moving and it's never forced, and he never has to do that thing where he puts the words in a stupid order just to make the rhyme work. He's got such an elegance and a balance of composition, which again, as you say, we live under romantic ideals, not classical ones. But that doesn't mean we should be blind to the level of his accomplishment, which is really, really very high. I mean, Samuel Johnson basically thought that Alexander Pope had finished English poetry. We have the end of history. He had the end of English poetry. Pope, he's brought us to the mightiest of the heroic couplers and he's done it. It's all over.James: The other thing about Pope that I think makes us underrate him is that he's very charming. And I think charm is a quality we're not big on is that sort of, but I think some of Pope's charm is so moving. One of my favourite poems of his is, do you know the Epistle to Miss Blount on going into the country? The poem to the young girl who's been having a fashionable season in London then is sent to the boring countryside to stay with an aunt. And it's this, it's not like a romantic love poem, it's not distraught or hectic. It's just a sort of wonderful act of sympathy with this potentially slightly airheaded young girl who's been sent to the countryside, which you'd rather go to operas and plays and flirt with people. And there's a real sort of delicate in it that isn't overblown and isn't dramatic, but is extremely charming. And I think that's again, another quality that perhaps we're prone not to totally appreciate in the 21st century. It's almost the kind of highest form of politeness and sympathyHenry: And the prevailing quality in Pope is wit: “True wit is nature to advantage dressed/ What often was thought, but ne'er so well expressed”. And I think wit can be quite alienating for an audience because it is a kind of superior form of literary art. This is why people don't read as much Swift as he deserves because he's so witty and so scornful that a lot of people will read him and think, well, I don't like you.James: And that point about what oft was thought and ne'er so well expressed again, is a very classical idea. The poet who puts not quite conventional wisdom, but something that's been thought before in the best possible words, really suffers with the romantic idea of originality. The poet has to say something utterly new. Whereas for Pope, the sort of ideas that he express, some of the philosophical ideas are not as profound in original perhaps as words with, but he's very elegant proponent of them.Henry: And we love b******g people in our culture, and I feel like the Dunciad should be more popular because it is just, I can't remember who said this, but someone said it's probably the most under appreciated great poem in English, and that's got to be true. It's full of absolute zingers. There's one moment where he's described the whole crowd of them or all these poets who he considers to be deeply inferior, and it turns out he was right because no one reads them anymore. And you need footnotes to know who they are. I mean, no one cares. And he says, “equal your merits, equal is your din”. This kind of abuse is a really high art, and we ought to love that. We love that on Twitter. And I think things like the Rape of the Lock also could be more popular.James: I love the Rape of the Lock . I mean, I think anybody is not reading Pope and is looking for a way in, I think the Rape of the Lock is the way in, isn't it? Because it's just such a charming, lovely, funny poem.Henry: It is. And probably it suffers because the whole idea of mock heroic now is lost to us. But it's a bit like it's the literary equivalent of people writing a sort of mini epic about someone like Elon Musk or some other very prominent figure in the culture and using lots of heroic imagery from the great epics of Homer and Virgil and from the Bible and all these things, but putting them into a very diminished state. So instead of being grand, it becomes comic. It's like turning a God into a cartoon. And Pope is easily the best writer that we have for that kind of thing. Dryden, but he's the genius on it.James: Yeah, no, he totally is. I guess it's another reason he's under appreciated is that our culture is just much less worshipful of epic than the 18th century culture was. The 18th century was obsessed with trying to write epics and trying to imitate epics. I mean, I think to a lot of Pope's contemporaries, the achievement they might've been expecting people to talk about in 300 years time would be his translations of the Iliad and the Odyssey and the other stuff might've seen more minor in comparison, whereas it's the mock epic that we're remembering him for, which again is perhaps another symptom of our sort of post romantic perspective.Henry: I think this is why Spenser suffers as well, because everything in Spenser is magical. The knights are fairies, not the little fairies that live in buttercups, but big human sized fairies or even bigger than that. And there are magical women and saucers and the whole thing is a sort of hodgepodge of romance and fairy tale and legend and all this stuff. And it's often said, oh, he was old fashioned in his own time. But those things still had a lot of currency in the 16th century. And a lot of those things are in Shakespeare, for example.But to us, that's like a fantasy novel. Now, I love fantasy and I read fantasy, and I think some of it's a very high accomplishment, but to a lot of people, fantasy just means kind of trash. Why am I going to read something with fairies and a wizard? And I think a lot of people just see Spenser and they're like, what is this? This is so weird. They don't realise how Protestant they're being, but they're like, this is so weird.James: And Pope has a little, I mean, the Rape of the Lock even has a little of the same because the rape of the lock has this attendant army of good spirits called selfs and evil spirits called gnomes. I mean, I find that just totally funny and charming. I really love it.Henry: I'm going to read, there's an extract from the Rape of the Lock in the Oxford Book, and I'm going to read a few lines to give people an idea of how he can be at once mocking something but also quite charming about it. It's quite a difficult line to draw. The Rape of the Lock is all about a scandalous incident where a young man took a lock of a lady's hair. Rape doesn't mean what we think it means. It means an offence. And so because he stole a lock of her hair, it'd become obviously this huge problem and everyone's in a flurry. And to sort of calm everyone down, Pope took it so seriously that he made it into a tremendous joke. So here he is describing the sort of dressing table if you like.And now, unveil'd, the Toilet stands display'd,Each silver Vase in mystic order laid.First, rob'd in white, the Nymph intent adores,With head uncover'd, the Cosmetic pow'rs.A heav'nly image in the glass appears,To that she bends, to that her eyes she rears;Th' inferior Priestess, at her altar's side,Trembling begins the sacred rites of Pride.What a way to describe someone putting on their makeup. It's fantastic.James: It's funny. I can continue that because the little passage of Pope I picked to read begins exactly where yours ended. It only gets better as it goes on, I think. So after trembling begins the sacred rites of pride, Unnumber'd treasures ope at once, and hereThe various off'rings of the world appear;From each she nicely culls with curious toil,And decks the Goddess with the glitt'ring spoil.This casket India's glowing gems unlocks,And all Arabia breathes from yonder box.The Tortoise here and Elephant unite,Transformed to combs, the speckled, and the white.Here files of pins extend their shining rows,Puffs, Powders, Patches, Bibles, Billet-doux.It's just so lovely. I love a thing about the tortoise and the elephant unite because you've got a tortoise shell and an ivory comb. And the stuff about India's glowing gems and Arabia breathing from yonder box, I mean that's a, realistic is not quite the word, but that's a reference to Milton because Milton is continually having all the stones of Arabia and India's pearls and things all screwed through paradise lost. Yeah, it's just so lovely, isn't it?Henry: And for someone who's so classical and composed and elegant, there's something very Dickensian about things like the toilet, the tortoise and the elephant here unite, transform to combs. There's something a little bit surreal and the puffs, powders, patches, bibles, it has that sort of slightly hectic, frantic,James: That's sort of Victorian materialism, wealth of material objects,Henry: But also that famous thing that was said of Dickens, that the people are furniture and the furniture's like people. He can bring to life all the little bits and bobs of the ordinary day and turn it into something not quite ridiculous, not quite charming.James: And there is a kind of charm in the fact that it wasn't the sort of thing that poets would necessarily expect to pay attention to the 18th century. I don't think the sort of powders and ointments on a woman's dressing table. And there's something very sort of charming in his condescension to notice or what might've once seemed his condescension to notice those things, to find a new thing to take seriously, which is what poetry or not quite to take seriously, but to pay attention to, which I guess is one of the things that great perch should always be doing.Henry: When Swift, who was Pope's great friend, wrote about this, he wrote a poem called A Beautiful Young Lady Going to Bed, which is not as good, and I would love to claim Swift on our list, but I really can't.James: It's quite a horrible perm as well, that one, isn't it?Henry: It is. But it shows you how other people would treat the idea of the woman in front of her toilet, her mirror. And Swift uses an opportunity, as he said, to “lash the vice” because he hated all this adornment and what he would think of as the fakery of a woman painting herself. And so he talks about Corina pride of Drury Lane, which is obviously an ironic reference to her being a Lady of the Night, coming back and there's no drunken rake with her. Returning at the midnight hour;Four stories climbing to her bow'r;Then, seated on a three-legged chair,Takes off her artificial hair:Now, picking out a crystal eye,She wipes it clean, and lays it by.Her eye-brows from a mouse's hide,Stuck on with art on either side,Pulls off with care, and first displays 'em,Then in a play-book smoothly lays 'em.Now dexterously her plumpers draws,That serve to fill her hollow jaws.And it goes on like this. I mean, line after this is sort of raw doll quality to it, Pope, I think in contrast, it only illuminates him more to see where others are taking this kind of crude, very, very funny and witty, but very crude approach. He's able to really have the classical art of balance.James: Yes. And it's precisely his charm that he can mock it and sympathise and love it at the same time, which I think is just a more sort of complex suite of poetic emotions to have about that thing.Henry: So we want more people to read Pope and to love Pope.James: Yes. Even if I'm not letting him into my top.Henry: You are locking him out of the garden. Now, for the second tier, I want to argue for two anonymous poets. One of the things we did when we were talking about this was we asked chatGPT to see if it could give us a good answer. And if you use o1 or o1 Pro, it gives you a pretty good answer as to who the best poets in English are. But it has to be told that it's forgotten about the anonymous poets. And then it says, oh, that was stupid. There are quite a lot of good anonymous poets in English, but I suspect a lot of us, a lot of non artificial intelligence when thinking about this question overlook the anonymous poets. But I would think the Gawain poet and the Tom O' Bedlam poet deserve to be in here. I don't know what you think about that.James: I'm not competent to provide an opinion. I'm purely here to be educated on the subject of these anonymous poets. Henry: The Gawain poet, he's a mediaeval, assume it's a he, a mediaeval writer, obviously may well not be a man, a mediaeval writer. And he wrote Sir Gawain and The Green Knight, which is, if you haven't read it, you should really read it in translation first, I think because it's written at the same time as Chaucer. But Chaucer was written in a kind of London dialect, which is what became the English we speak. And so you can read quite a lot of Chaucer and the words look pretty similar and sometimes you need the footnotes, but when you read Gawain and The Green Knight, it's in a Northwestern dialect, which very much did not become modern day English. And so it's a bit more baffling, but it is a poem of tremendous imaginative power and weirdness. It's a very compelling story. We have a children's version here written by Selena Hastings who's a very accomplished biographer. And every now and then my son remembers it and he just reads it again and again and again. It's one of the best tales of King Arthur in his knights. And there's a wonderful book by John Burrow. It's a very short book, but that is such a loving piece of criticism that explicates the way in which that poem promotes virtue and all the nightly goodness that you would expect, but also is a very strange and unreal piece of work. And I think it has all the qualities of great poetry, but because it's written in this weird dialect, I remember as an undergraduate thinking, why is this so bloody difficult to read? But it is just marvellous. And I see people on Twitter, the few people who've read it, they read it again and they just say, God, it's so good. And I think there was a film of it a couple of years ago, but we will gloss lightly over that and not encourage you to do the film instead of the book.James: Yeah, you're now triggering a memory that I was at least set to read and perhaps did at least read part of Gawain and the Green Knight at University, but has not stuck to any brain cells at all.Henry: Well, you must try it again and tell me what you think. I mean, I find it easily to be one of the best poems in English.James: Yeah, no, I should. I had a little Chaucer kick recently actually, so maybe I'm prepared to rediscover mediaeval per after years of neglect since my degree,Henry: And it's quite short, which I always think is worth knowing. And then the Tom Bedlam is an anonymous poem from I think the 17th century, and it's one of the mad songs, so it's a bit like the Fool from King Lear. And again, it is a very mysterious, very strange and weird piece of work. Try and find it in and read the first few lines. And I think because it's anonymous, it's got slightly less of a reputation because it can't get picked up with some big name, but it is full of tremendous power. And again, I think it would be sad if it wasn't more well known.From the hag and hungry goblinThat into rags would rend ye,The spirit that stands by the naked manIn the Book of Moons defend ye,That of your five sound sensesYou never be forsaken,Nor wander from your selves with TomAbroad to beg your bacon,While I do sing, Any food, any feeding,Feeding, drink, or clothing;Come dame or maid, be not afraid,Poor Tom will injure nothing.Anyway, so you get the sense of it and it's got many stanzas and it's full of this kind of energy and it's again, very accomplished. It can carry the thought across these long lines and these long stanzas.James: When was it written? I'm aware of only if there's a name in the back of my mind.Henry: Oh, it's from the 17th century. So it's not from such a different time as King Lear, but it's written in the voice of a madman. And again, you think of that as the sort of thing a romantic poet would do. And it's strange to find it almost strange to find it displaced. There were these other mad songs. But I think because it's anonymous, it gets less well known, it gets less attention. It's not part of a bigger body of work, but it's absolutely, I think it's wonderful.James: I shall read it.Henry: So who have you got? Who else? Who are you putting in instead of these two?James: Hang on. So we're down to tier two now.Henry: Tier two.James: Yeah. So my tier two is: Donne, Elliot, Keats, Tennyson. I've put Spenser in tier two, Marvell and Pope, who we've already discussed. I mean, I think Eliot, we've talked about, I mean Donne just speaks for himself and there's probably a case that some people would make to bump him up a tier. Henry: Anybody can read that case in Katherine Rudell's book. We don't need to…James: Yes, exactly. If anybody's punching perhaps in tier two, it's Tennyson who I wasn't totally sure belonged there. Putting Tenon in the same tier as Donne and Spenser and Keets. I wonder if that's a little ambitious. I think that might raise eyebrows because there is a school of thought, which I'm not totally unsympathetic to this. What's the Auden quote about Tennyson? I really like it. I expressed very harshly, but I sort of get what he means. Auden said that Tennyson “had the finest ear perhaps of any English poet who was also undoubtedly the stupidest. There was little that he didn't know. There was little else that he did.” Which is far too harsh. But I mentioned to you earlier that I think was earlier this year, a friend and I had a project where we were going to memorise a perva week was a plan. We ended up basically getting, I think three quarters of the way through.And if there's a criticism of Tennyson that you could make, it's that the word music and the sheer lushness of phrases sometimes becomes its own momentum. And you can end up with these extremely lovely but sometimes slightly empty beautiful phrases, which is what I ended up feeling about Tithonus. And I sort of slightly felt I was memorising this unbelievably beautiful but ever so slightly hollow thing. And that was slightly why the project fell apart, I should say. Of course, they absolutely love Tennyson. He's one of my all time favourite poets, which is why my personal favouritism has bumped him up into that category. But I can see there's a case, and I think to a lot of people, he's just the kind of Victorian establishment gloom man, which is totally unfair, but there's not no case against Tennyson.Henry: Yeah, the common thing is that he has no ideas. I don't know if that's true or not. I'm also, I'm not sure how desperately important it is. It should be possible to be a great poet without ideas being at the centre of your work. If you accept the idea that the essence of poetry is invention, i.e. to say old things in a fantastically new way, then I think he qualifies very well as a great poet.James: Yes..Henry: Well, very well. I think Auden said what he said because he was anxious that it was true of himself.James: Yeah, I mean there's a strong argument that Auden had far too many ideas and the sorts of mad schemes and fantastical theories about history that Auden spent his spare time chasing after is certainly a kind of argument that poets maybe shouldn't have as many ideas, although it's just reading. Seamus Perry's got a very good little book on Tennyson, and the opening chapter is all about arguments about people who have tended to dislike Tennyson. And there are all kinds of embarrassing anecdotes about the elderly Tennyson trying to sort of go around dinner parties saying profound and sage-like things and totally putting his foot in it and saying things are completely banal. I should have made a note that this was sort of slightly, again, intensifying my alarm about is there occasionally a tinsely hollowness about Tennyson. I'm now being way too harsh about one of my favourite poets—Henry: I think it depends what you mean by ideas. He is more than just a poet of moods. He gives great expression, deep and strongly felt expression to a whole way of being and a whole way of conceiving of things. And it really was a huge part of why people became interested in the middle ages in the 19th century. I think there's Walter Scott and there's Tennyson who are really leading that work, and that became a dominant cultural force and it became something that meant a lot to people. And whether or not, I don't know whether it's the sort of idea that we're talking about, but I think that sort of thing, I think that qualifies as having ideas and think again, I think he's one of the best writers about the Arthurian legend. Now that work doesn't get into the Oxford Book of English Verse, maybe that's fair. But I think it was very important and I love it. I love it. And I find Tennyson easy to memorise, which is another point in his favour.James: Yeah.Henry: I'm going to read a little bit of Ulysses, which everyone knows the last five or six lines of that poem because it gets put into James Bond films and other such things. I'm going to read it from a little bit from earlier on. I am become a name;For always roaming with a hungry heartMuch have I seen and known; cities of menAnd manners, climates, councils, governments,Myself not least, but honour'd of them all;And drunk delight of battle with my peers,Far on the ringing plains of windy Troy.I am a part of all that I have met;Yet all experience is an arch wherethro'Gleams that untravell'd world, whose margin fadesFor ever and for ever when I move.I think that's amazing. And he can do that. He can do lots and lots and lots of that.James: Yeah, he really can. It's stunning. “Far on the ringing planes of windy Troy” is such an unbelievably evocative phrase.Henry: And that's what I mean. He's got this ability to bring back a sort of a whole mood of history. It's not just personal mood poetry. He can take you into these places and that is in the space of a line. In the space of a line. I think Matthew Arnold said of the last bit of what I just read is that he had this ability in Ulysses to make the lines seem very long and slow and to give them this kind of epic quality that far goes far beyond the actual length of that poem. Ulysses feels like this huge poem that's capturing so much of Homer and it's a few dozen lines.James: Yeah, no, I completely agree. Can I read a little bit of slightly more domestic Tennyson, from In Memoriam, I think his best poem and one of my all time favourite poems and it's got, there are many sort of famous lines on grief and things, but there's little sort of passage of natural description I think quite near the beginning that I've always really loved and I've always just thought was a stunning piece of poetry in terms of its sound and the way that the sound has patented and an unbelievably attentive description natural world, which is kind of the reason that even though I think Keats is a better poet, I do prefer reading Tennyson to Keats, so this is from the beginning of In Memoriam. Calm is the morn without a sound,Calm as to suit a calmer grief,And only thro' the faded leafThe chesnut pattering to the ground:Calm and deep peace on this high wold,And on these dews that drench the furze,And all the silvery gossamersThat twinkle into green and gold:Calm and still light on yon great plainThat sweeps with all its autumn bowers,And crowded farms and lessening towers,To mingle with the bounding main:And I just think that's an amazing piece of writing that takes you from that very close up image that it begins with of the “chestnut patterning to the ground” through the faded leaves of the tree, which is again, a really attentive little bit of natural description. I think anyone can picture the way that a chestnut might fall through the leaves of a chestnut tree, and it's just an amazing thing to notice. And I think the chestnut pattern to the ground does all the kind of wonderful, slightly onomatopoeic, Tennyson stuff so well, but by the end, you're kind of looking out over the English countryside, you've seen dew on the firs, and then you're just looking out across the plane to the sea, and it's this sort of, I just think it's one of those bits of poetry that anybody who stood in a slightly wet and romantic day in the English countryside knows exactly the feeling that he's evoking. And I mean there's no bit of—all of In Memoriam is pretty much that good. That's not a particularly celebrated passage I don't think. It's just wonderful everywhere.Henry: Yes. In Memoriam a bit like the Dunciad—under appreciated relative to its huge merits.James: Yeah, I think it sounds, I mean guess by the end of his life, Tennyson had that reputation as the establishment sage of Victorian England, queen of Victoria's favourite poet, which is a pretty off-putting reputation for to have. And I think In Memoriam is supposed to be this slightly cobwebby, musty masterpiece of Victorian grief. But there was just so much, I mean, gorgeous, beautiful sensuous poetry in it.Henry: Yeah, lots of very intense feelings. No, I agree. I have Tennyson my third tier because I had to have the Gawain poet, but I agree that he's very, very great.James: Yeah, I think the case for third tier is I'm very open to that case for the reasons that I said.Henry: Keats, we both have Keats much higher than Shelly. I think Byron's not on anyone's list because who cares about Byron. Overrated, badly behaved. Terrible jokes. Terrible jokes.James: I think people often think Byron's a better pert without having read an awful lot of the poetry of Byron. But I think anybody who's tried to wade through long swathes of Don Juan or—Henry: My God,James: Childe Harold, has amazing, amazing, beautiful moments. But yeah, there's an awful lot of stuff that you don't enjoy. I think.Henry: So to make the case for Keats, I want to talk about The Eve of St. Agnes, which I don't know about you, but I love The Eve of St. Agnes. I go back to it all the time. I find it absolutely electric.James: I'm going to say that Keats is a poet, which is kind of weird for somebody is sent to us and obviously beautiful as Keats. I sort of feel like I admire more than I love. I get why he's brilliant. It's very hard not to see why he's brilliant, but he's someone I would very rarely sit down and read for fun and somebody got an awful lot of feeling or excitement out of, but that's clearly a me problem, not a Keats problem.Henry: When I was a teenager, I knew so much Keats by heart. I knew the whole of the Ode to a Nightingale. I mean, I was absolutely steeped in it morning, noon and night. I couldn't get over it. And now I don't know if I could get back to that point. He was a very young poet and he writes in a very young way. But I'm going to read—The Eve of St. Agnes is great. It's a narrative poem, which I think is a good way to get into this stuff because the story is fantastic. And he had read Spenser, he was part of this kind of the beginning of this mediaeval revival. And he's very interested in going back to those old images, those old stories. And this is the bit, I think everything we're reading is from the Oxford Book of English Verse, so that if people at home want to read along they can.This is when the heroine of the poem is Madeline is making her escape basically. And I think this is very, very exciting. Her falt'ring hand upon the balustrade,Old Angela was feeling for the stair,When Madeline, St. Agnes' charmed maid,Rose, like a mission'd spirit, unaware:With silver taper's light, and pious care,She turn'd, and down the aged gossip ledTo a safe level matting. Now prepare,Young Porphyro, for gazing on that bed;She comes, she comes again, like ring-dove fray'd and fled.Out went the taper as she hurried in;Its little smoke, in pallid moonshine, died:She clos'd the door, she panted, all akinTo spirits of the air, and visions wide:No uttered syllable, or, woe betide!But to her heart, her heart was voluble,Paining with eloquence her balmy side;As though a tongueless nightingale should swellHer throat in vain, and die, heart-stifled, in her dell.A casement high and triple-arch'd there was,All garlanded with carven imag'riesOf fruits, and flowers, and bunches of knot-grass,And diamonded with panes of quaint device,Innumerable of stains and splendid dyes,As are the tiger-moth's deep-damask'd wings;And in the midst, 'mong thousand heraldries,And twilight saints, and dim emblazonings,A shielded scutcheon blush'd with blood of queens and kings.I mean, so much atmosphere, so much tension, so many wonderful images just coming one after the other. The rapidity of it, the tumbling nature of it. And people often quote the Ode to autumn, which has a lot of that.James: I have to say, I found that totally enchanting. And perhaps my problem is that I need you to read it all to me. You can make an audio book that I can listen to.Henry: I honestly, I actually might read the whole of the E and put it out as audio on Substack becauseJames: I would actually listen to that.Henry: I love it so much. And I feel like it gets, when we talk about Keats, we talk about, On First Looking into Chapman's Homer and Bright Star and La Belle Dame Sans Merci, and these are great, great poems and they're poems that we do at school Ode to a Nightingale because I think The Great Gatsby has a big debt to Ode to a Nightingale, doesn't it? And obviously everyone quotes the Ode to Autumn. I mean, as far as I can tell, the 1st of October every year is the whole world sharing the first stands of the Ode to Autumn.James: Yeah. He may be one of the people who suffers from over familiarity perhaps. And I think also because it sounds so much what poetry is supposed to sound like, because so much of our idea of poetry derives from Keats. Maybe that's something I've slightly need to get past a little bit.Henry: But if you can get into the complete works, there are many, the bit I just read is I think quite representative.James: I loved it. I thought it was completely beautiful and I would never have thought to ever, I probably can't have read that poem for years. I wouldn't have thought to read it. Since university, I don't thinkHenry: He's one of those people. All of my copies of him are sort of frayed and the spines are breaking, but the book is wearing out. I should just commit it to memory and be done. But somehow I love going back to it. So Keats is very high in my estimation, and we've both put him higher than Shelly and Coleridge.James: Yeah.Henry: Tell me why. Because those would typically, I think, be considered the superior poets.James: Do you think Shelly? I think Keats would be considered the superior poetHenry: To Shelly?James: Certainly, yes. I think to Shelly and Coleridge, that's where current fashion would place them. I mean, I have to say Coleridge is one of my all time favourite poets. In terms of people who had just every so often think, I'd love to read a poem, I'd love to read Frost at Midnight. I'd love to read the Aeolian Harp. I'd love to read This Lime Tree Bower, My Prison. I'd love to read Kubla Khan. Outside Milton, Coleridge is probably the person that I read most, but I think, I guess there's a case that Coleridge's output is pretty slight. What his reputation rest on is The Rime of the Ancient Mariner, Kubla Khan, the conversation poems, which a lot of people think are kind of plagiarised Wordsworth, at least in their style and tone, and then maybe not much else. Does anybody particularly read Cristabel and get much out of it nowadays? Dejection an Ode people like: it's never done an awful lot for me, so I sort of, in my personal Pantheon Coleridge is at the top and he's such an immensely sympathetic personality as well and such a curious person. But I think he's a little slight, and there's probably nothing in Coleridge that can match that gorgeous passage of Keats that you read. I think.Henry: Yeah, that's probably true. He's got more ideas, I guess. I don't think it matters that he's slight. Robert Frost said something about his ambition had been to lodge five or six poems in the English language, and if he'd done that, he would've achieved greatness. And obviously Frost very much did do that and is probably the most quotable and well-known poet. But I think Coleridge easily meets those criteria with the poems you described. And if all we had was the Rime of the Ancient Mariner, I would think it to be like Tom O' Bedlam, like the Elegy in a Country Churchyard, one of those great, great, great poems that on its own terms, deserves to be on this list.James: Yeah, and I guess another point in his favour is a great poet is they're all pretty unalike. I think if given Rime of the Ancient Mariner, a conversation poem and Kubla Khan and said, guess whether these are three separate poets or the same guy, you would say, oh, there's a totally different poems. They're three different people. One's a kind of creepy gothic horror ballad. Another one is a philosophical reflection. Another is the sort of Mad Opium dream. I mean, Kubla Khan is just without a doubt, one of the top handful of purposes in English language, I think.Henry: Oh yeah, yeah. And it has that quality of the Elegy in a Country Churchyard that so many of the lines are so quotable in the sense that they could be, in the case of the Elegy in a Country Churchyard, a lot of novels did get their titles from it. I think it was James Lees Milne. Every volume of his diaries, which there are obviously quite a few, had its title from Kubla Khan. Ancient as the Hills and so on. It's one of those poems. It just provides us with so much wonderful language in the space of what a page.James: Sort of goes all over the place. Romantic chasms, Abyssinian made with dulcimer, icy pleasure dome with caves of ice. It just such a—it's so mysterious. I mean, there's nothing else remotely like it at all in English literature that I can think of, and its kind strangeness and virtuosity. I really love that poem.Henry: Now, should we say a word for Shelly? Because everyone knows Ozymandias, which is one of those internet poems that goes around a lot, but I don't know how well known the rest of his body of work is beyond that. I fell in love with him when I read a very short lyric called “To—” Music, when soft voices die,Vibrates in the memory—Odours, when sweet violets sicken,Live within the sense they quicken.Rose leaves, when the rose is dead,Are heaped for the belovèd's bed;And so thy thoughts, when thou art gone,Love itself shall slumber on.I found that to be one of those poems that was once read and immediately memorised. But he has this very, again, broad body of work. He can write about philosophical ideas, he can write about moods, he can write narrative. He wrote Julian and Maddalo, which is a dialogue poem about visiting a madman and taking sympathy with him and asking the question, who's really mad here? Very Swiftian question. He can write about the sublime in Mont Blanc. I mean, he has got huge intellectual power along with the beauty. He's what people want Tennyson to be, I guess.James: Yeah. Or what people think Byron might be. I think Shelly is great. I don't quite get that Byron is so much more famous. Shelly has just a dramatic and, well, maybe not quite just as, but an incredibly dramatic and exciting life to go along with it,Henry: I think some of the short lyrics from Byron have got much more purchase in day-to-day life, like She Walks in Beauty.James: Yeah. I think you have to maybe get Shelly a little more length, don't you? I mean, even there's something like Ode to the West Wind is you have to take the whole thing to love it, perhaps.Henry: Yes. And again, I think he's a bit like George Herbert. He's always thinking you really have to pay attention and think with him. Whereas Byron has got lots of lines you can copy out and give to a girl that you like on the bus or something.James: Yes. No, that's true.Henry: I don't mean that in quite as rude a way as it sounds. I do think that's a good thing. But Shelly's, I think, much more of a thinker, and I agree with you Childe Harold and so forth. It's all crashing bore. I might to try it again, but awful.James: I don't want move past Coledridge without inflicting little Coledridge on you. Can I?Henry: Oh, yes. No, sorry. We didn't read Coledridge, right?James: Are just, I mean, what to read from Coledridge? I mean, I could read the whole of Kubla Khan, but that would be maybe a bit boring. I mean, again, these are pretty famous and obvious lines from Frost at Midnight, which is Coledridge sitting up late at night in his cottage with his baby in its cradle, and he sort of addressing it and thinking about it. And I just think these lines are so, well, everything we've said about Coledridge, philosophical, thoughtful, beautiful, in a sort of totally knockout, undeniable way. So it goes, he's talking to his young son, I think. My babe so beautiful! it thrills my heartWith tender gladness, thus to look at thee,And think that thou shalt learn far other lore,And in far other scenes! For I was rearedIn the great city, pent 'mid cloisters dim,And saw nought lovely but the sky and stars.But thou, my babe! shalt wander like a breezeBy lakes and sandy shores, beneath the cragsOf ancient mountain, and beneath the clouds,Which image in their bulk both lakes and shoresAnd mountain crags: so shalt thou see and hearThe lovely shapes and sounds intelligibleOf that eternal language, which thy GodUtters, who from eternity doth teachHimself in all, and all things in himself.Which is just—what aren't those lines of poetry doing? And with such kind of confidence, the way you get from talking to your baby and its cradle about what kind of upbringing you hope it will have to those flashes of, I mean quite Wordsworthian beauty, and then the sort of philosophical tone at the end. It's just such a stunning, lovely poem. Yeah, I love it.Henry: Now we both got Yeats and Hopkins. And Hopkins I think is really, really a tremendous poet, but neither of us has put Browning, which a lot of other people maybe would. Can we have a go at Browning for a minute? Can we leave him in shreds? James: Oh God. I mean, you're going to be a better advocate of Browning than I am. I've never—Henry: Don't advocate for him. No, no, no.James: We we're sticking him out.Henry: We're sticking him.James: I wonder if I even feel qualified to do that. I mean, I read quite a bit of Browning at university, found it hard to get on with sometimes. I think I found a little affected and pretentious about him and a little kind of needlessly difficult in a sort of off-puttingly Victorian way. But then I was reading, I reviewed a couple of years ago, John Carey has an excellent introduction to English poetry. I think it's called A Little History of Poetry in which he described Browning's incredibly long poem, The Ring in the Book as one of the all time wonders of verbal art. This thing is, I think it's like 700 or 800 pages long poem in the Penguin edition, which has always given me pause for thought and made me think that I've dismissed Browning out of hand because if John Carey's telling me that, then I must be wrong.But I think I have had very little pleasure out of Browning, and I mean by the end of the 19th century, there was a bit of a sort of Victorian cult of Browning, which I think was influential. And people liked him because he was a living celebrity who'd been anointed as a great poet, and people liked to go and worship at his feet and stuff. I do kind of wonder whether he's lasted, I don't think many people read him for pleasure, and I wonder if that maybe tells its own story. What's your case against Browning?Henry: No, much the same. I think he's very accomplished and very, he probably, he deserves a place on the list, but I can't enjoy him and I don't really know why. But to me, he's very clever and very good, but as you say, a bit dull.James: Yeah, I totally agree. I'm willing. It must be our failing, I'm sure. Yeah, no, I'm sure. I'm willing to believe they're all, if this podcast is listened to by scholars of Victorian poetry, they're cringing and holding their head in their hands at this—Henry: They've turned off already. Well, if you read The Ring and the Book, you can come back on and tell us about it.James: Oh God, yeah. I mean, in about 20 years time.Henry: I think we both have Auden, but you said something you said, “does Auden have an edge of fraudulence?”James: Yeah, I mean, again, I feel like I'm being really rude about a lot of poets that I really love. I don't really know why doesn't think, realising that people consider to be a little bit weak makes you appreciate their best stuff even more I guess. I mean, it's hard to make that argument without reading a bit of Auden. I wonder what bit gets it across. I haven't gotten any ready. What would you say about Auden?Henry: I love Auden. I think he was the best poet of the 20th century maybe. I mean, I have to sort of begrudgingly accept T.S. Eliot beside, I think he can do everything from, he can do songs, light lyrics, comic verse, he can do occasional poetry, obituaries. He was a political poet. He wrote in every form, I think almost literally that might be true. Every type of stanza, different lines. He was just structurally remarkable. I suspect he'll end up a bit like Pope once the culture has tur

On the Difference between the Spiritual and Natural Arcana Coelestia 141. Innumerable things might be said about man's Own in describing its nature with the corporeal and worldly man, with the spiritual man, and with the celestial man. With the corporeal and worldly man, his Own is his all, he knows of nothing else than his Own, and imagines, as before said, that if he were to lose this Own he would perish. With the spiritual man also his Own has a similar appearance, for although he knows that the Lord is the life of all, and gives wisdom and understanding, and consequently the power to think and to act, yet this knowledge is rather the profession of his lips than the belief of his heart. But the celestial man discerns that the Lord is the life of all and gives the power to think and to act, for he perceives that it is really so. He never desires his Own, nevertheless an Own is given him by the Lord, which is conjoined with all perception of what is good and true, and with all happiness. The angels are in such an Own, and are at the same time in the highest peace and tranquility, for in their Own are those things which are the Lord's, who governs their Own, or them by means of their Own. This Own is the veriest celestial itself, whereas that of the corporeal man is infernal. But concerning this Own more hereafter. The Obscurity of the Spiritual Arcana Coelestia 7233 [2] In respect to this matter, be it known further that the doctrine of the spiritual church is not that of truth Divine itself, because those who are of the spiritual church have no perception of truth Divine, as have those who are of the celestial church; but instead of this perception they have conscience, which is formed from the truth and good which they have acknowledged within their own church, of whatever kind these may be. (That those who are of the spiritual church are relatively in obscurity in respect to the truths of faith, see n. 86, 2708, 2715, 2716, 2718, 2831, 2935, 2937, 3241, 3246, 3833, 6289, 6500, 6865, 6945.) Hence it is that everyone within the spiritual church acknowledges as the truth of faith that which its founders have dictated, nor do they search further from the Word whether it be the very truth; and moreover if they did search they would not find it unless they had been regenerated and at the same time enlightened in an especial manner; and this for the reason that their intellectual can indeed be enlightened, but the new will cannot be affected with any other good than that which has been formed by means of conjunction with the truth received within the church. For their own will has been destroyed, and a new will has been formed in the intellectual part (see n. 863, 875, 1023, 1043, 1044, 1555, 2256, 4328, 5113); and when their own will has been separated from the new will which is in the intellectual part, the light in this is feeble, such as is the nocturnal light from the moon and stars compared with the diurnal light from the sun. Hence also it is that by the “moon” in the Word, in the internal sense, is meant the good of spiritual love, and by the “sun” the good of celestial love (n. 30-38, 1529-1531, 2495, 4060). [3] The case being so with the spiritual church, it is not to be wondered at that with most persons faith is the essential of the church, and not charity, and also that they have no doctrine of charity. Their doctrinal things being from the Word does not make them Divine truths, for from the sense of the letter of the Word any doctrinal thing whatever can be hatched, and that which favors the concupiscences can be readily learned; thus also what is false can be taken for what is true, as is the case with the doctrinal things of the Jews, of the Socinians, and of many others; but not so if doctrine is formed from the internal sense. The internal sense is not only that sense which lies concealed in the external sense, as has heretofore been shown, but is also that which results from a number of passages...

Arcana Coelestia 141. Innumerable things might be said about man's Own in describing its nature with the corporeal and worldly man, with the spiritual man, and with the celestial man. With the corporeal and worldly man, his Own is his all, he knows of nothing else than his Own, and imagines, as before said, that if he were to lose this Own he would perish. With the spiritual man also his Own has a similar appearance, for although he knows that the Lord is the life of all, and gives wisdom and understanding, and consequently the power to think and to act, yet this knowledge is rather the profession of his lips than the belief of his heart. But the celestial man discerns that the Lord is the life of all and gives the power to think and to act, for he perceives that it is really so. He never desires his Own, nevertheless an Own is given him by the Lord, which is conjoined with all perception of what is good and true, and with all happiness. The angels are in such an Own, and are at the same time in the highest peace and tranquility, for in their Own are those things which are the Lord's, who governs their Own, or them by means of their Own. This Own is the veriest celestial itself, whereas that of the corporeal man is infernal. The desire for immediate liberation 7186. And Jehovah said unto Moses. That this signifies instruction about the law Divine, is evident from the signification of “Jehovah said,” as being instruction from the Divine (of which below); and from the representation of Moses, as being the law Divine (see n. 6723, 6752, 7014). That “Jehovah said unto Moses,” signifies instruction about the law Divine, is because at the end of the preceding chapter it was believed from the law Divine, that it would come to pass that those who are of the spiritual church would be immediately liberated from infestations; when yet it is according to order that the evil who infest should be removed by degrees, and that they who are of the spiritual church should be liberated by degrees; for such is the Divine order; and therefore such is the law Divine; for all law Divine is of order, insomuch that whether we say the law Divine, or the law of Divine order, it is the same. [2] Concerning this law they who are of the spiritual church are now instructed, and that it is from this law that they are certain to be liberated when the time and state according to order arrives. That Moses (by whom is here represented the law Divine, such as it is with those of the spiritual church when they are in a state of infestations) believed from the law Divine that it would come to pass that they would be immediately liberated from infestations, is plain from what he said at the close of the preceding chapter, namely, “Wherefore hast Thou done evil unto this people? Why is this that Thou hast sent me? And liberating Thou hast not liberated Thy people;” by which words is signified that they were too much infested by falsities, when yet the law proceeding from the Divine seems to say otherwise, and that in this way they have not been released from a state of infestations (n. 7165, 7166, 7169). [3] That those who are of the spiritual church, and who are in the lower earth, would be gradually liberated from infestations, and not immediately, is because the evils and falsities that cling to them cannot otherwise be removed, and goods and truths be instilled in their place; for this is effected by many changes of state, thus successively by degrees. They who believe that man can be immediately introduced into heaven, and that this is solely of the Lord's mercy, are very much mistaken. If this were possible, all whatsoever who are in hell would be raised into heaven, for the Lord's mercy extends to all. But it is according to order that everyone carries with him his life which he had lived in the world, and his state in the other life is according to this, and that the mercy of the Lord flows in with all, but is diversely received,

Arcana Coelestia 141. Innumerable things might be said about man's Own in describing its nature with the corporeal and worldly man, with the spiritual man, and with the celestial man. With the corporeal and worldly man, his Own is his all, he knows of nothing else than his Own, and imagines, as before said, that if he were to lose this Own he would perish. With the spiritual man also his Own has a similar appearance, for although he knows that the Lord is the life of all, and gives wisdom and understanding, and consequently the power to think and to act, yet this knowledge is rather the profession of his lips than the belief of his heart. But the celestial man discerns that the Lord is the life of all and gives the power to think and to act, for he perceives that it is really so. He never desires his Own, nevertheless an Own is given him by the Lord, which is conjoined with all perception of what is good and true, and with all happiness. The angels are in such an Own, and are at the same time in the highest peace and tranquility, for in their Own are those things which are the Lord's, who governs their Own, or them by means of their Own. This Own is the veriest celestial itself, whereas that of the corporeal man is infernal. Third Round posts are short audio clips taken from Round 3 comments offered in the online Logopraxis Life Group meetings. The aim is to keep the focus on understanding the Text in terms of its application to the inner life along with reinforcing any key LP principles that have been highlighted in the exchanges.

Innumerable barriers exist for people of all lived experiences accessing healthcare. An innovation supporting people gaining access, regardless of location or transportation, is telehealth. Listen as Dr. Vidya Raman-Tangella, Chief Medical Officer at Teladoc Health and Brendan discuss the important role telehealth – and those providing it – are playing in ensuring patients receive equitable and optimal healthcare from anywhere. 

nefesh hachaim

AP correspondent Ed Donahue reports on a study of the brain of a pregnant woman.

Revelation 6:12–7:17When he opened the sixth seal, I looked, and behold, there was a great earthquake, and the sun became black as sackcloth, the full moon became like blood, and the stars of the sky fell to the earth as the fig tree sheds its winter fruit when shaken by a gale. The sky vanished like a scroll that is being rolled up, and every mountain and island was removed from its place. Then the kings of the earth and the great ones and the generals and the rich and the powerful, and everyone, slave and free, hid themselves in the caves and among the rocks of the mountains, calling to the mountains and rocks, “Fall on us and hide us from the face of him who is seated on the throne, and from the wrath of the Lamb, for the great day of their wrath has come, and who can stand?”7:1 After this I saw four angels standing at the four corners of the earth, holding back the four winds of the earth, that no wind might blow on earth or sea or against any tree. Then I saw another angel ascending from the rising of the sun, with the seal of the living God, and he called with a loud voice to the four angels who had been given power to harm earth and sea, saying, “Do not harm the earth or the sea or the trees, until we have sealed the servants of our God on their foreheads.” And I heard the number of the sealed, 144,000, sealed from every tribe of the sons of Israel:12,000 [each] from the tribe of Judah… Reuben… Gad… Asher… Napthali… Manasseh… Simeon… Levi… Issachar… Zebulun.... Joseph… and Benjamin were sealed,After this I looked, and behold, a great multitude that no one could number, from every nation, from all tribes and peoples and languages, standing before the throne and before the Lamb, clothed in white robes, with palm branches in their hands, and crying out with a loud voice, “Salvation belongs to our God who sits on the throne, and to the Lamb!” And all the angels were standing around the throne and around the elders and the four living creatures, and they fell on their faces before the throne and worshiped God, saying, “Amen! Blessing and glory and wisdom and thanksgiving and honor and power and might be to our God forever and ever! Amen.”Then one of the elders addressed me, saying, “Who are these, clothed in white robes, and from where have they come?” I said to him, “Sir, you know.” And he said to me, “These are the ones coming out of the great tribulation. They have washed their robes and made them white in the blood of the Lamb.“Therefore they are before the throne of God,and serve him day and night in his temple;and he who sits on the throne will shelter them with his presence.They shall hunger no more, neither thirst anymore;the sun shall not strike them,nor any scorching heat.For the Lamb in the midst of the throne will be their shepherd,and he will guide them to springs of living water,and God will wipe away every tear from their eyes.”Sermon Questions:What are precious things that you seal up to protect? Can you see yourself as something even more important to God?Do you know your tears are counted, written in God's book? Can you imagine each one being answered, redeemed?How often are you surprised that one or another aspect of life is hard? Is it encouraging to hear that while you might not be sealed from suffering, you are sealed through it?Faith is washing your robe in the blood of Jesus, not the blood of your enemies. What does that look like in your life?How are people different from you who you find are hard to love?Is it exciting that heaven is bursting with innumerable, diverse people? Does that impact your attitude towards sharing the faith with others?

“Our commitment to distractions and our commitment to not committing actually takes a lot of effort.”       The newest telescopes can see stars being born hundreds of millions of lightyears away. Innumerable stars, like the sun in our solar system, are scattered across the farthest reaches of the cosmos. It boggles the mind, […] The post Returning to the Original Place | Koshin Paley Ellison appeared first on New York Zen Center for Contemplative Care.

This icon was once kept in the Church of Blachernae in Constantinople. In 1383, it suddenly appeared in the sky over Lake Ladoga, then travelled through the air to the city of Tikhvin, where it alit by the River Tikhvina. A monastery was built there to house it. In the twentieth century it was brought to America. Innumerable miracles have been worked through this wonderworking icon, especially healings of children.   On this day is also commemorated the Hodigritia Icon of the Mother of God. According to many accounts, this icon and the Tikhvin Icon are one and the same, so we list them together. Hodigritia is translated "Directress" or more literally "She who shows the way." It was painted by Luke the Evangelist himself, who knew the Mother of God in the flesh. Over the years the icon was taken from Antioch to Jerusalem, then to Constantinople where it was enshrined in the Church of Blachernae. When Constantinople was attacked at the same time by the Persians and the Scythians, Patriarch Sergius carried the holy icon around the ramparts, and the city was miraculously delivered from its pagan enemies. During the iconoclast period, the icon was hidden in a wall in the monastery of the Pantocrator.

This icon was once kept in the Church of Blachernae in Constantinople. In 1383, it suddenly appeared in the sky over Lake Ladoga, then travelled through the air to the city of Tikhvin, where it alit by the River Tikhvina. A monastery was built there to house it. In the twentieth century it was brought to America. Innumerable miracles have been worked through this wonderworking icon, especially healings of children.   On this day is also commemorated the Hodigritia Icon of the Mother of God. According to many accounts, this icon and the Tikhvin Icon are one and the same, so we list them together. Hodigritia is translated "Directress" or more literally "She who shows the way." It was painted by Luke the Evangelist himself, who knew the Mother of God in the flesh. Over the years the icon was taken from Antioch to Jerusalem, then to Constantinople where it was enshrined in the Church of Blachernae. When Constantinople was attacked at the same time by the Persians and the Scythians, Patriarch Sergius carried the holy icon around the ramparts, and the city was miraculously delivered from its pagan enemies. During the iconoclast period, the icon was hidden in a wall in the monastery of the Pantocrator.

Innumerable evidences spread across the expanse of the country show that famously known as a myth or story - Mahabharat is actually an account of history. In this episode we have uncovered the archeological evidences of Mahabharat found in different parts of the country. These evidences include everything from jewels, utensils to tombstones. Listen to the full episode to know how the mystery behind this Myth unfolds.  Narrated by Purab Written by Tanishka Tripathi Creative Director  Dhruv Lau Sound Design Aayush For Feedback and suggestions write to us - podcast@redfm.in or DM on Instagram - @redfmpodcastsSee omnystudio.com/listener for privacy information.

As a monk, he was known for his very severe asceticism. Against his will, he was made Bishop of Zahum, where he served his flock faithfully for many years, "keeping it from the cruelty of the Turks and the guile of the Latins" (Prologue). When his monastery was destroyed by the Turks he moved to Ostrog, where he reposed. His body has remained whole, incorrupt, healing and wonderworking to this day. Innumerable miracles have been worked at his grave; both Christians and Muslims seek out his relics for healing from sicknesses and sufferings.   (A story heard from a parishioner at St Basil of Ostrog Church in Illinois: while the Saint's relics remain intact, reputedly his shoes wear out from time to time and need to be replaced.)

As a monk, he was known for his very severe asceticism. Against his will, he was made Bishop of Zahum, where he served his flock faithfully for many years, "keeping it from the cruelty of the Turks and the guile of the Latins" (Prologue). When his monastery was destroyed by the Turks he moved to Ostrog, where he reposed. His body has remained whole, incorrupt, healing and wonderworking to this day. Innumerable miracles have been worked at his grave; both Christians and Muslims seek out his relics for healing from sicknesses and sufferings.   (A story heard from a parishioner at St Basil of Ostrog Church in Illinois: while the Saint's relics remain intact, reputedly his shoes wear out from time to time and need to be replaced.)

Welcome to Grace in Focus radio. Today, Bob Wilkin and David Renfro are answering questions about Deuteronomy 1:10 and Hebrews 11:1. Are some prophecies fulfilled more than once, and sometimes progressively? What is the relation between faith and certainty? Bob and Dave have some answers and an interesting discussion for you concerning these questions.

This year, the Tarbiya Institute chose the notion of Ubudiyyah to guide its conversations and become the year's theme. No other month can more effectively articulate and emphasize this beautiful theme than the blessed month of Ramadan. This year, Tarbiya's Imams and guest speakers will focus on the spiritual gems shared by Imam Abul-Faraj ibn-ul-Jawzi's widely read book, Sayd al-Khaatir, or Captured Thoughts.

628 We Have Come to Mount Zion and Innumerable Company of Angels, A Guided Christian Meditation on Hebrews 12:22-24 with the Recenter With Christ app  The purpose of this podcast is to help you find more peace in your life and connect with the true source of peace, Jesus Christ.  Outline: Relaxation, Reading, Meditation, Prayer, Contemplation and Visualization. Get into a place where you can sit comfortably and uninterrupted for about 20 minutes.You should hopefully not be driving or anything tensing or unrelaxing.  If you feel comfortable to do so, I invite you to close your eyes.   Guided Relaxation / Guided Meditation:   Breathe and direct your thoughts to connecting with Godr. Let your stomach be a balloon inflate,  deflate. Scripture for Meditation ESV  22 But you have come to Mount Zion and to the city of the living God, the heavenly Jerusalem, and to innumerable angels in festal gathering, 23 and to the assembly of the firstborn who are enrolled in heaven, and to God, the judge of all, and to the spirits of the righteous made perfect, 24 and to Jesus, the mediator of a new covenant, and to the sprinkled blood that speaks a better word than the blood of Abel. NKJV 22 But you have come to Mount Zion and to the city of the living God, the heavenly Jerusalem, to an innumerable company of angels, 23 to the general assembly and church of the firstborn who are registered in heaven, to God the Judge of all, to the spirits of just men made perfect, 24 to Jesus the Mediator of the new covenant, and to the blood of sprinkling that speaks better things than that of Abel. Meditation on Scripture: As we learn to school our actions and responses, and as we learn to love, we come to understand our relationship with God better. In the Old Testament we see the way Moses approaches God in fear. Although we shouldn't minimize the grandeur of God, scripture us full of times when God commands people to not fear as they approach.  We are offered a mountain of Joy not one of fear. We are surrounded by an innumerable community of heavenly beings. We don't see them and many times don't see the impact but God commands legions of beings full of love. This is the Lingdom of God. Not to fear Gods wrath but to rejoice in Gods power and direction and the miraculous gift he has given with the new covenant through Jesus Christ.  How lucky for us that God is both our judge but also our mediator before the effects of Sin. The spilling of Christs blood cleanses us from the effects of the most horrible failings of humanity. Each breath we draw can be ingratitude of our all powerful and loving God. Praise be to God.  Meditation of Prayer: Pray as directed by the Spirit. Dedicate these moments to the patient waiting, when you feel ready ask God for understanding you desire from Him. Meditation of God and His Glory / Hesychasm: I invite you to sit in silence feeling patient for your own faults and trials. Summarize what insights you have gained during this meditation and meditate and visualize positive change in your life: This is a listener funded podcast at patreon.com/christianmeditationpodcast Final Question: If you consider the invitation and command to persevere in the faith, what change in your life does that bring to your mind?  FIND ME ON: Download my free app: Recenter with Christ Website - ChristianMeditationPodcast.com Voicemail - (602) 888-3795 Email: jared@christianmeditationpodcast.com Apple Podcasts - Christian Meditation Podcast Facebook.com/christianmeditationpodcast Youtube.com/christianmeditaitonpodcast Twitter - @ChristianMedPod  

3 men. 100 episodes. 247 movies.  Innumerable hand-farts.  IN A WORLD…where movie theaters closed their doors during a worldwide pandemic, three best friends decided to hop into their mental DeLoreans, go back in time to talk about movies & opening weekends from the last 40 years, and bask in the buttery glow of nostalgia.  Three and half years later they arrive at their 100th and final trip back in time…twice! First, the boys head AAALLL the way back to where it all started: early summer of 1977, and William Friedkin's Star Wars squashed thriller, SORCERER.  And then, in a space/time continuum-shaking rift, they jump forward to 2015 and the last time all three of them were in a movie theatre together, screaming their heads off like John Boyega, watching STAR WARS: THE FORCE AWAKENS. And finally, the boys raise a glass to some MORE nostalgia with the Fourth Annual Golden Sheila Awards ©.  PLUS a final visit from The Arthropod Squad and Gene Gene the Punning Machine: Mr. Shalit, himself.  ALL the feels and ALL the farts on EPISODE 100 of OPENING WEEKEND!

Pastor Wayne Van Gelderen shares biblical truth that will bring hope and comfort in these uncertain days. May we draw closer to God through this time and impact those around us for eternity. https://fallsbaptist.org https://baptistcollege.org https://www.theegeneration.org https://ontovictorypress.com If you'd like to support this ministry - https://fallsbaptist.org/give/

Thursday, 28 December 2023   Now when there arose a great dissension, the commander, fearing lest Paul might be pulled to pieces by them, commanded the soldiers to go down and take him by force from among them, and bring him into the barracks. Acts 23:10   The Greek more literally reads, “And great dissension arising, the commander, having feared lest Paul should be torn apart by them, commanded the detachment – having descended – to seize him from among them and bring into the barracks” (CG).   In the previous verse, the scribes of the Pharisees protested Paul's treatment, defending the fact that he could have been spoken to by a spirit or an angel. This upset the apple cart, and things immediately devolved, as seen in the next words, “And great dissension arising.”   It is the same word just used in verse 7 that indicated a dissension between the Pharisees and Sadducees. Now, the entire council is in an uproar. This was so much the case that “the commander, having feared lest Paul should be torn apart by them.”   Here is the second and last use of the word diaspaó in Scripture. It was only seen elsewhere in Mark 5:4, where it noted that the demon-possessed man tore apart the chains that bound him. This is now what the commander feared would happen to Paul.   This argument between the two parties grew to such a state that each side was probably grabbing onto Paul and pulling him in either direction – one to rescue him and one to pummel him. In the tugging, he could actually be ripped apart. But, being a Roman citizen, the commander was responsible for him. Therefore, he “commanded the detachment – having descended – to seize him from among them and bring into the barracks.”   The soldiers would be necessary by this time because of the violence of those who meant Paul harm. This included the high priest himself, and it shows the level of depravity that they had fallen to, despite being the supposed representatives of the Lord on earth.   In securing Paul and taking him to the barracks, it could be that Paul had been in and out of the very same room that had been used for Jesus on the night before His cross. In contrast to the sufferings He faced, Paul would be kept safe in that same location.   Life application: The conduct of the council seems entirely out of place, and it is. However, it is not uncommon. Innumerable fights have broken out in parliaments, congresses, and other bodies that rule the people. Many of them are recorded and can be seen on YouTube.   It is not unlikely that if you pick a country at random and do a search for a fight in that country's government, you will find a video of a fight breaking out. An arbitrary search immediately brought up a lively brawl in Kosovo's cabinet, including men and women, older and younger, etc. Following that came a long list of similar videos. The Indian parliament went full throttle, into chaos throwing microphones and lamps; the Taiwanese were throwing chairs; and there was a lot of slapping and punching in the Jordanian parliament.   Anytime you deal with religion or politics, tempers are bound to get out of control. In the council where Paul stood, it was a mixture of both. Thus, it was an explosive environment that Paul was able to successfully divide, taking the focus off of him and demonstrating the hypocrisy of those who stood over him with their accusations.   If you attend any large gathering to defend your rights as a Christian, such as a state or local meeting, you should be prepared to have accusations fly, angry people demanding your silence, and possibly fighting to break out. In the place where civility is most expected, it often is not. Thus, it is a clear indication that things will only continue to devolve in the world around us.   The message of Christ is the only true hope and saving message in the world. And yet, it is becoming less and less tolerated because it deals with the underlying problem in man: sin. Because it does, in highlighting this defect, people will continue to strengthen their enmity toward the message it proclaims. Be aware of this as you head out and speak about the goodness of God in Christ. Many will find it offensive.   Glorious Lord God, we were all at enmity with You at some point. But because of Jesus, we were reconciled to You. Help us to be willing to share this message, even if it brings about trouble in our lives. Without addressing the problem of sin, all people remain Your enemies. Give us the ability to explain this and to effectively speak about the goodness of what You have done in sending Jesus to fix the problem. Amen.

Today, the guys dissect the comedic male mind, Saturday Night Fever, and a roundtable on Donna Pescow. Plus, the legend of Hans Conried, and an episode of 'The Love Boat' the Aceman hasn't seen? Please Support Our Sponsor: TryMiracle.com/ADS, Promo code: ADS

Thank You For Joining Us! Share this broadcast with your friends and get ready to experience the unlimited power of God! Get connected with us and watch “Greater Glory” on the High Tower Ministries, Int. Facebook Page! Sundays at 9 AM & 7 PM and Wednesdays at 7 PM for inspiring messages that will raise your faith and grow you in the Word! Don't miss a message, Follow Us on Facebook: https://www.Linktr.ee/hightowerministries www.HighTowerMinistry.org Bookings/ Churches / Conferences: Bookings@HighTowerMinistry.org  Instagram: https://www.instagram.com/hightowerministries_usa/ Unlocking Glory and the Unlocking Glory Study Guide are available on our website (signed copy with free shipping within the US). Also available on Amazon and Barnes and Nobles.    

In a world that often seems divided by lines drawn in blood and conflict, I find myself at a crossroads. The Israel-Gaza conflict, a longstanding and painful struggle, has once again erupted into headlines and social media feeds. As the world debates and takes sides, I have taken a side.  I have made my choice, but it's not a choice between Israelis and Palestinians. It's an altogether different choice.The Israel-Gaza conflict is a deeply complex and emotional issue that has defied resolution for generations. Innumerable lives have been lost, homes destroyed, and families torn apart. The cycle of violence, while it may ebb and flow, persists. It's easy to be swayed by the prevailing narratives and to feel the pressure to pick a side, to become a cog in this destructive cycle. But I've finally come to the realization that I do need to pick a side.  And I choose Love.Credit to Reuters for history of Gaza passages used in this episode: https://www.reuters.com/world/middle-east/gazas-centuries-war-brief-history-2023-10-30/To stay connected with Better Place Project and for updates and behind the scenes info, please follow us on social media:Website:https://www.betterplaceproject.org/ Instagram: @BetterPlaceProj To follow Steve on Instagram@SteveNorrisOfficialFacebook: Facebook.com/BetterPlaceProjectPodcastTwitter: @BetterPlaceProjEmail: BetterPlaceProjectPodcast@gmail.com

The Wordly, Spiritual and Celestial man's Own(Proprium) AC 141. Innumerable things might be said about man's Own(Proprium) in describing its nature with the corporeal and worldly man, with the spiritual man, and with the celestial man. With the corporeal and worldly man, his Own(Proprium) is his all, he knows of nothing else than his Own(Proprium), and imagines, as before said, that if he were to lose this Own(Proprium) he would perish. With the spiritual man also his Own(Proprium) has a similar appearance, for although he knows that the Lord is the life of all, and gives wisdom and understanding, and consequently the power to think and to act, yet this knowledge is rather the profession of his lips than the belief of his heart. But the celestial man discerns that the Lord is the life of all and gives the power to think and to act, for he perceives that it is really so. He never desires his Own(Proprium), nevertheless an Own(Proprium) is given him by the Lord, which is conjoined with all perception of what is good and true, and with all happiness. The angels are in such an Own(Proprium), and are at the same time in the highest peace and tranquility, for in their Own(Proprium) are those things which are the Lord's, who governs their Own(Proprium), or them by means of their Own(Proprium). This Own(Proprium) is the veriest celestial itself, whereas that of the corporeal man is infernal. But concerning this Own(Proprium) more hereafter.   Man's Own(Proprium) - the Infernal/Hellish proprium AE 483(16)... Man's proprium resides in the sensual and natural man, therefore conclusions formed from these alone are formed from the proprium, or from man's own intelligence; for the Divine flows in through the spiritual man into the natural, but not into the natural when the spiritual above it is closed, whereas the spiritual man is opened by means of truths, and by a life according to them. AC 154. Nothing evil or false can possibly exist that is not the proprium or derived from the proprium. For man's proprium is evil itself, which means that man is nothing but evil and falsity. This has become clear to me from the fact that when the contents of the proprium are presented to view in the world of spirits they look so ugly that nobody can paint any uglier picture. (Those contents vary however according to the nature of the proprium.) As a result when anyone is offered a glimpse of the contents of his proprium he is horrified at himself and wishes to run as though from the devil. On the other hand contents of the proprium which have been given life by the Lord look beautiful and attractive, varying according to the life to which a celestial quality that is the Lord's can be added. Indeed people who have received charity, that is, been made alive by it, look like boys and girls with very attractive faces. And people who have received innocence look like naked small children adorned in different ways with garlands of flowers twined around their breasts, and precious stones in their hair, living and playing in brightest light, with a sense of happiness stemming from the depths of their being. AE 323 The reason why "death" signifies the love of man's proprium, is, because "death" signifies the extinction of spiritual life, and thence natural life separated from spiritual life (as above, 321), and this life is the life of the love of man's proprium; for from it man loves nothing but himself and the world, and thence also he loves all kinds of evils, which, from the love of that life, are delightful to him. The New Jerusalem and its Heavenly Doctrine 145. Because acting from freedom appears to man as if from his own proprium, therefore heavenly freedom may also be called the heavenly proprium, and infernal freedom may be called the infernal proprium. The infernal proprium is that into which man is born, and this is evil; but the heavenly proprium is that into which man is reformed, and this is good.  

Join Premium! Ready for an ad-free meditation experience? Join Premium now and get every episode from ALL of our podcasts completely ad-free now! Just a few clicks makes it easy for you to listen on your favorite podcast player.  Become a PREMIUM member today by going to --> https://WomensMeditationNetwork.com/premium Close your eyes, And listen… PAUSE Do you hear them whisper?  Can you feel them rumble?  PAUSE The pieces of wisdom you've acquired so far, Lay inside of you. Innumerable grains of sand, Rolling rocks, And massive boulders.  All contributing to the magical you you are.  LONG PAUSE All the experiences swirl around, Painful, Joyful, And everything in between.  PAUSE Observations,  Relationships,  Beautiful insights from Spirit.  They all live within you, Here to support your growth, Expand your soul, And guide your evolution.  LONG PAUSE So touch them here within you, With the wonder of child playing in the sand, Grateful for every grain, Every formation, Every single one.  LONG PAUSE Namaste, Beautiful   

Send us a Text Message."When we gazed upon all this splendor at once, we scarcely knew what to think, and we doubted whether all that we beheld was real. A series of large towns stretched themselves along the banks of the lake, out of which still larger ones rose magnificently above the waters. Innumerable crowds of canoes were plying everywhere around us; at regular distances we continually passed over new bridges, and before us lay the great city of Mexico in all its splendor." Those are the words of Bernal Díaz del Castillo, a Spanish soldier, upon first seeing the Aztec capital of Tenochtitlan in 1519. At the time, the Aztec Empire was the most powerful Mesoamerican kingdom of all time, with 80,000 square miles of territory and some 15 million inhabitants. Just 2 years later, the empire would crumble, utterly defeated by European forces staking a claim for Spain. But did you know, the leader of this exploit, Hernán Cortés, had defied Spanish authority and run off to conquer the Aztecs with less than 500 soldiers? Let's fix that. Sources: New York Times "After 500 Years Cortes Girlfriend Is Not Forgiven"New York Historical Society "Live Story: Malitzen (La Malinche)"Thoughtco "Ten Facts About Hernán Cortés"bizarreandgrotesque.com "Gonazlo Guerrero and Geronimo de Aguilar, Two Spanish Men who Were Captured by the Mayans"The Borgen Project "Facts About Indigenous Poverty in Mexico"History.com "How Hernán Cortés conquered the Aztec Empire"New World Encyclopedia "Battle of Tenochtitlan"Live Science "Hernán Cortés: Conqueror of the Aztecs"houstonculture.org "The Indigenous People of Central Mexico"Support the show! Buy Me a CoffeeVenmo @Shea-LaFountaine

Tuesday, 18 July 2023   Now a certain Jew named Apollos, born at Alexandria, an eloquent man and mighty in the Scriptures, came to Ephesus. Acts 18:24   The words now form an insert into the narrative to introduce a new figure into the Bible. While Paul is going through the areas of Galatia and Phrygia, the figure is introduced so that when he meets with Paul, their two accounts will properly align. Understanding this, it now says, “Now a certain Jew named Apollos.”   The name Apollos is derived from the pagan deity Apollon, meaning the sun god. It is from the same source as Apollonia which is a place in Macedonia noted in Acts 17:1. The name Apollos may be a shortened form of a longer Greek name, such as Apollonius or Apollodorus.   This person will be noted twice in Acts, six times in 1 Corinthians, and then once in Titus. Outside of these verses, nothing more is known of him. He is next noted as having been “born at Alexandria.” Of this location, Jamieson-Fausset-Brown says –   “...the celebrated city of Egypt on the southeastern shore of the Mediterranean, called after its founder, Alexander the Great. Nowhere was there such a fusion of Greek, Jewish, and Oriental peculiarities, and an intelligent Jew educated in that city could hardly fail to manifest all these elements in his mental character.”   This evaluation then explains the next words, saying he was “an eloquent man.” The word in Greek is logios. It signifies being gifted with learning. It also speaks of one with excellent oratory skills. Vincent's Word Studies explains further –   “The word is used in Greek literature in several senses. As λόγος [logos] means either reason or speech, so this derivative may signify either one who has thought much, and has much to say, or one who can say it well. Hence it is used: 1. Of one skilled in history. Herodotus, for example, says that the Heliopolitans are the most learned in history (λογιώτατοι) of all the Egyptians. 2. Of an eloquent person. An epithet of Hermes or Mercury, as the god of speech and eloquence. 3. Of a learned person generally. ...the scripture-learning of Apollos is specified in the words mighty in the scriptures, and his superior eloquence appears to have been the reason why some of the Corinthians preferred him to Paul.”   The comment about Apollo being preferred by some in Corinth is found in Paul's first epistle to them where the church was divided in who was the best example to follow. Because of his eloquence, it is assumed that some in the church preferred following Apollos. Not only did he possess the ability to eloquently convey his thoughts, but it also notes of him as, “and mighty in the Scriptures.”   Rather, the Greek contains a present participle, saying, “being mighty in the Scriptures.” In other words, he had a deep knowledge of the Jewish Scriptures. Of this, Albert Barnes rightly says, “The foundation was thus laid for future usefulness in the Christian church.”   This is the purpose of introducing him at this point. When someone will soon play a prominent role in the ongoing narrative, he or she is often introduced in advance. Then, at the right time, that person is brought directly into the ongoing narrative. Suddenly introducing Apollos as Luke has done means that this will be the case with him in the verses ahead. For now, it notes of him that he “came to Ephesus.”   Earlier in the chapter, it noted that Paul indicated that he would return to Ephesus –   “When they asked him to stay a longer time with them, he did not consent, 21 but took leave of them, saying, ‘I must by all means keep this coming feast in Jerusalem; but I will return again to you, God willing.' And he sailed from Ephesus.” Acts 18:20, 21   From there, the account hurriedly rushed through Paul's trip. At this point, he has left Antioch and is in the region of Galatia and Phrygia. At the same time, Apollos is introduced and he is at Ephesus, the place Paul committed to returning to. Without looking forward, one can be reasonably assured that these two will meet up in Ephesus. What type of meeting is unknown. Maybe they will be rivals, fighting over points of doctrine. Maybe they will become close friends as Paul and Timothy have done. But it is reasonably assured that the two will be brought into the same account in the narrative in the not-too-distant future.   Life application: One of the biggest mistakes made by people looking for a church, or of churches in the selection of the pastors, is that they look, first and foremost, for a person who is a skilled orator. There is nothing wrong with good oratory skills. Instead, they can be a source of great encouragement or stirring of the soul by those who hear well-spoken sermons.   Another similar mistake occurs when people look first and foremost for a pastor who is incredibly intelligent and articulates his thoughts in a remarkably logical and methodical way. There is nothing wrong with this approach either. Some people or congregations are so well developed in their thinking that having this type of presentation really edifies them.   However, the problem with such selections is derived from the thought “first and foremost.” All of the oratory skills in the world are wholly useless to a church if they are not properly aligned with Scripture. Likewise, being extremely well versed in the Greek language or in the structure of literature means diddly if evaluations of such things are torn out of their proper context.   What should be the first and foremost consideration is, “How well does this person know, understand, and care about Scripture?” Without this considered, nothing else really matters. To be properly and excitingly orated into heresy can only lead to sadness. To be presented with meticulous analyses of Scripture that are not based on what is contextually proper will only lead to faulty conclusions and aberrant doctrine.   If a person does not know Scripture well and if his understanding of it is not orthodox, he shouldn't be given two seconds of your time. Don't look at externals! How he is dressed, what he looks like, where he went to school, what type of degree he possesses, etc., are all not to be thought of as primary considerations. Understanding of, and adherence to, sound doctrine should be looked for before anything else.   Remember this and don't get caught up in fallacious thinking. Innumerable people have been swept up into cults and aberrant sects because they failed this first and primary consideration.   Glorious Lord God, please direct us to leaders who are mighty in Scripture and who handle it properly. We have our part in the selection of our leaders, so help us to be well-versed in Your word as well. Fill us with the strong desire to be fully aware of what Your word is conveying before we select those who we will appoint over us. If they are sound in such things, only then should we consider their other qualities. Keep us on the straight path in this matter. Amen.  

Reading this book, I had a vision of a land, heretofore sunk in the mists of muteness, suddenly rising up into the eminence of song. Innumerable books have been written about the South; some good books have been written in the South. This book is the South. . . . . Part One is the primitive and evanescent world of Georgia. Part Two is the threshing and suffering brown world of Washington. . . . Part Three is Georgia again . . . this black womb of the ferment seed: the neurotic, educated, spiritually stirring Negro. From the Forward by Waldo Frank --- Support this podcast: https://podcasters.spotify.com/pod/show/librivox1/support

This icon was once kept in the Church of Blachernae in Constantinople. In 1383, it suddenly appeared in the sky over Lake Ladoga, then travelled through the air to the city of Tikhvin, where it alit by the River Tikhvina. A monastery was built there to house it. In the twentieth century it was brought to America. Innumerable miracles have been worked through this wonderworking icon, especially healings of children.   On this day is also commemorated the Hodigritia Icon of the Mother of God. According to many accounts, this icon and the Tikhvin Icon are one and the same, so we list them together. Hodigritia is translated "Directress" or more literally "She who shows the way." It was painted by Luke the Evangelist himself, who knew the Mother of God in the flesh. Over the years the icon was taken from Antioch to Jerusalem, then to Constantinople where it was enshrined in the Church of Blachernae. When Constantinople was attacked at the same time by the Persians and the Scythians, Patriarch Sergius carried the holy icon around the ramparts, and the city was miraculously delivered from its pagan enemies. During the iconoclast period, the icon was hidden in a wall in the monastery of the Pantocrator.

This icon was once kept in the Church of Blachernae in Constantinople. In 1383, it suddenly appeared in the sky over Lake Ladoga, then travelled through the air to the city of Tikhvin, where it alit by the River Tikhvina. A monastery was built there to house it. In the twentieth century it was brought to America. Innumerable miracles have been worked through this wonderworking icon, especially healings of children.   On this day is also commemorated the Hodigritia Icon of the Mother of God. According to many accounts, this icon and the Tikhvin Icon are one and the same, so we list them together. Hodigritia is translated "Directress" or more literally "She who shows the way." It was painted by Luke the Evangelist himself, who knew the Mother of God in the flesh. Over the years the icon was taken from Antioch to Jerusalem, then to Constantinople where it was enshrined in the Church of Blachernae. When Constantinople was attacked at the same time by the Persians and the Scythians, Patriarch Sergius carried the holy icon around the ramparts, and the city was miraculously delivered from its pagan enemies. During the iconoclast period, the icon was hidden in a wall in the monastery of the Pantocrator.

Wednesday, 31 May 2023   Then the brethren immediately sent Paul and Silas away by night to Berea. When they arrived, they went into the synagogue of the Jews. Acts 17:10   In the previous verse, security was taken from Jason and those with him and they were released. Now, it continues, saying, “Then the brethren immediately sent Paul and Silas away.”   This may have been something mentioned by those who held their bail. Part of the conditions may have been to get Paul and Silas out of Jason's house, or it could be that they were to hand them over to the city leaders and to avoid that, they sent them away. It could also just be that they knew Paul and Silas were targets of the Jews and wanted to keep them from being harmed.   The latter reason, because it is so similar to Paul's other interactions with disbelieving Jews, seems most likely. However, regardless of the reason, Paul and Silas were immediately sent away, “by night.”   The Greek reads, dia nyktos, through night. Under the cover of night, they were sent out of the area. This is not unlike what occurred in Acts 9 –   “Now after many days were past, the Jews plotted to kill him. 24 But their plot became known to Saul. And they watched the gates day and night, to kill him. 25 Then the disciples took him by night and let him down through the wall in a large basket.” Acts 9:23-25   In sending Paul and Silas away, it next says that it was “to Berea.” The name Berea comes from the word peran, meaning “over,” “on the other side,” or “beyond.” Thus, it is the region beyond the coastline. Of this location, Wikipedia says –   “Berea was in southwestern Macedonia. The city's foundation stood where Veria, or Kar-Verria, in Greece is today. It is a unique position [and] has had a variety of terrain surrounding the city since then.   Berea sat at the base of Mount Bermius, which is part of the Vermio Mountains and provides an ample supply of water for the city and the region. The main sources of water were the Haliacmon and Axios Rivers, which supported apple, peach and pear orchards. The area is prosperous with a hydroelectric dam on the Haliacmon powering the area's industrial sector.”   With that noted, it next says, “When they arrived, they went into the synagogue of the Jews.”    This is Paul's standard way of entering into a new city, at least as far as Luke's focus is concerned. Nothing else is recorded concerning their arrival and time in Berea until he goes to the synagogue. It shows that Paul's main focus was to first bring the word to his own people and any proselytes who were there. From that point, he could then continue to branch out in his evangelistic efforts.   It also shows that, despite repeated attacks from his own people, he was willing to continue to evangelize them. It reflects the attitude of his words to those in Rome. Paul desperately wanted his own countrymen to come to a saving knowledge of Christ. He was willing to expend himself and even place his life in danger to do so.   Life application: It would be an argument from silence to say that Paul did not speak to any Gentiles while before going into the synagogue in Berea. Luke's focus for the narrative is to show that Paul was always willing to go into the synagogue and share his faith with them as his top priority.   However, if Paul and Silas arrived in Berea on a Tuesday, they would have several days until the Sabbath to talk to others. It is unlikely they would have said, “No, we have to wait to give the good news to the synagogue first.” Rather, they would have spoken to whoever as the occasion arose. The focus of the narrative is to highlight Paul's modus operandi, not to give a complete record of everything he and Silas did.   As you read the Bible, be sure to contemplate why things are recorded as they are. A single turn of the page can be a jump ahead in time of weeks, months, or even years. Innumerable things are skipped over because they are not relevant to the narrative. Consider the main focus of what God is conveying to you and think about His reasons for doing so. This is a great help in understanding why things are laid out as they are.   Heavenly Father, may our time in Scripture be a time of fellowshipping with You, understanding Your mind as it is revealed to us, and as a light and guide for our own lives as we draw nearer and nearer to You. Help us to consider Your word as being a guide for humanity to understand You and our relationship with You. Thank You for the coming of Jesus, O God, who then makes all this clear and understandable. Amen.

As a monk, he was known for his very severe asceticism. Against his will, he was made Bishop of Zahum, where he served his flock faithfully for many years, "keeping it from the cruelty of the Turks and the guile of the Latins" (Prologue). When his monastery was destroyed by the Turks he moved to Ostrog, where he reposed. His body has remained whole, incorrupt, healing and wonderworking to this day. Innumerable miracles have been worked at his grave; both Christians and Muslims seek out his relics for healing from sicknesses and sufferings.   (A story heard from a parishioner at St Basil of Ostrog Church in Illinois: while the Saint's relics remain intact, reputedly his shoes wear out from time to time and need to be replaced.)

As a monk, he was known for his very severe asceticism. Against his will, he was made Bishop of Zahum, where he served his flock faithfully for many years, "keeping it from the cruelty of the Turks and the guile of the Latins" (Prologue). When his monastery was destroyed by the Turks he moved to Ostrog, where he reposed. His body has remained whole, incorrupt, healing and wonderworking to this day. Innumerable miracles have been worked at his grave; both Christians and Muslims seek out his relics for healing from sicknesses and sufferings.   (A story heard from a parishioner at St Basil of Ostrog Church in Illinois: while the Saint's relics remain intact, reputedly his shoes wear out from time to time and need to be replaced.)

Dayna Patterson's “Our Lady of Innumerable Appellatives” is incredible in audio form. Listen in to Dialogue Out Loud #40 and enjoy! The post Dialogue Out Loud Presents Our Lady of Innumerable Appellatives appeared first on Dialogue Journal.