Body English - Danielson Famile - "Tri-Danielson!!!"(Alpha) (CD, Album)
You, O king, have made a decree that everyone who hears the sound of the horn, flute, harp, lyre, and psaltery, in symphony with all kinds of music, shall fall down and worship the gold image; and whoever does not fall down and worship shall be cast into the midst of a burning fiery furnace.
There are certain Jews whom you have set over the affairs of the province of Babylon: Shadrach, Meshach, and Abed-Nego; these men, O king, have not paid due regard to you. They do not serve your gods or worship the gold image which you have set up. Certain Chaldeans came forward and accused the Jews : These Chaldeans had an obvious political motivation against these Jews who were promoted to high office along with Daniel in the events recorded in the previous chapter.
They do not serve your gods or worship Album) gold image : Apparently their failure to worship the image was not discovered until these certain Chaldeans made it known. With so many thousands of government officials in attendance, it would be easy to overlook these three. Additionally, we see from this that the three Jewish men did not lodge a formal protest; they simply refrained from sharing in the sin of idolatry themselves.
Their actions were not public but neither were they hidden. These three Hebrew men must have known they would be discovered, yet they obeyed God rather than man. There is a feeling among some good people that it will be wise to be very reticent, and hide their light under a bushel.
They intend to lie low all the wartime, and come out when the palms are being distributed. They hope to travel to heaven by the back lanes, and skulk into glory in disguise. Ah me, what a degenerate set! So they brought these men before the king. Now if you are ready at the time you hear the sound of the horn, flute, harp, lyre, and psaltery, in symphony with all kinds of music, and you fall down and worship the image which I have made, good!
But if you do not worship, you shall be cast immediately into the midst of a burning fiery furnace. And who is the god who will deliver you from my hands? Is it true : To his credit, Nebuchadnezzar did not accept the accusation on hearsay.
He made sure of it with a personal interview. This was an even greater test for Shadrach, Meshach, and Abed-Nego. Do not make a profession at all. It is unnecessary that a man should profess to be what he is not; it is a sin of supererogation, a superfluity of naughtiness.
If you cannot be true to Christ, if your coward heart is recreant to your Lord, do not profess to be his disciple, I beseech you. He that is married to the world, or flinthearted, had better return to his house, for he is of no service in this war. But if you do not worship, you shall be cast immediately into the midst of a burning fiery furnace : Nebuchadnezzar would not tolerate losing face on such an important occasion.
We can imagine the enormous pressure on Shadrach, Meshach, and Abed-Nego to compromise. Everything in front of them — the king, the furnace, the music, their compatriots, their competitors — all of it conspired to convince them to compromise. Yet God was more real to them than any of those things. Let not flute, harp, and sackbut fascinate you, but hearken to the music of the glorified.
Men frown at you, but you can see God smiling on you, and so you are not moved. Who is the god who will deliver you from my hands?
Nebuchadnezzar thought nothing of insulting all gods with this statement. He is more of a secularist or a humanist than a theist. The god he really believes in is himself, not the gods of Babylon. If that is the case, our God whom we serve is able to deliver us from the burning fiery furnace, and He will deliver us from your hand, O king.
But if not, let it be known to you, O king, that we do not serve your gods, nor will we worship the gold image which you have set up. We have no need to answer you : They had no need to defend themselves. Their guilt in the matter was clear — they clearly would not bow down to this image. In fact, they knew that God was able to save them from both the burning fiery furnace and from the hand of Nebuchadnezzar himself.
But if not : In this, the Jewish men show they had a good understanding and appreciation of submission to God. We often complain about our rights and what is fair. I have my own desires and dreams and I pray that God fulfills them. These were men who did not love too much. There are popular self-help books that hope to help people who seem to love too much, yet many Christians are hindered because they love too much.
Remember that early Christians were not thrown to the lions because they worshipped Jesus, but because they would not worship the emperor. In our day, many do love Jesus and think highly of Him — yet they are far from God because they also love and worship the world, sin, and self.
Do not love the world or the things in the world. If anyone loves the world, the love of the Father is not in him 1 John Let it be known to you, O king, that we do not serve your gods, nor will we worship the gold image which you have set up : It took great faith to say this. God brought them to this place of great faith by preparing them with tests in less dramatic areas. These men stood firm when challenged to eat impure foods and they saw God bless their obedience.
That gave them the courage to obey now, when the stakes were much higher. Some fill their life with many small compromises; yet tell themselves that they will stand firm when it really matters.
Shadrach, Meshach, and Abed-Nego show us that obedience to God in small things really matters. Let it be known to you, O king : The statement of Shadrach, Meshach, and Abed-Nego is also remarkable for what it does not have — any hint of an excuse.
In a time of testing like this it is easy to think of a thousand excuses that seem to justify compromise. Ten minutes, just for the king. It is stupid to throw our lives away for ten minutes. Can the stability and order of the world be but a temporary dynamic equilibrium achieved in a corner of the universe, a short-lived eddy in a chaotic current?
That forbidden love brought her nothing but pain, but she would rather have shame and pain with Abelard than peace and happiness without him. No me quejo. None can survive for a moment on a correct metaphysics Existence exists, and only existence exists. Existence is a primary: it is uncreated, indestructible, eternal. It denies any supernatural dimension presented as a contradiction of nature, of existence. This applies not only to God, but also to every variant of the supernatural ever advocated or to be advocated.
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Home Categories. Quotes from The Three-Body Problem. Get the book. Whispering Rock by Robyn Carr. Darcy, Vampyre by Amanda Grange. Callahan's Crosstime The ungrammatical "don't" combined with the elevated diction of "philosophy" and "sagacity" suggests the petulance of a little girl. In the next four lines, the speaker struggles to assert faith. Puzzled scholars are less admirable than those who have stood up for their beliefs and suffered Christlike deaths. The speaker wants to be like them.
Her faith now appears in the form of a bird who is searching for reasons to believe. But available evidence proves as irrelevant as twigs and as indefinite as the directions shown by a spinning weathervane. The desperation of a bird aimlessly looking for its way is Body English - Danielson Famile - "Tri-Danielson!!!"(Alpha) (CD to the behavior of preachers whose gestures and hallelujahs cannot point the way to faith.
These last two lines suggest that the narcotic which these preachers offer cannot still their own doubts, in addition to the doubts of others. This poem also has a major division and moves from affirmation to extreme doubt. However, its overall tone differs from that of "This World is not Conclusion.
It is a frenetic satire that contains a cry of anguish. In the first-person "I know that He exists"the speaker confronts the challenge of death and refers to God with chillingly direct anger. Both poems, however, are ironic.
Here, the first stanza declares a firm belief in God's existence, although she can neither hear nor see him. The second stanza explains that he remains hidden in order to make death a blissful ambush, where happiness comes as a surprise. The deliberately excessive joy and the exclamation mark are signs of emerging irony.
She has been describing a pleasant game of hide and seek, but she now anticipates that the game may prove deadly and that the fun could turn to terror if death's stare is revealed as being something murderous that brings neither God nor immortality. Should this prove so, the amusing game will become a vicious joke, showing God to be a merciless trickster who enjoys watching people's foolish anticipations. Once this dramatic irony is visible, one can see that the first stanza's characterization of God's rareness and man's grossness is ironic.
As a vicious trickster, his rareness is a fraud, and if man's lowliness is not rewarded by God, it is merely a sign that people deserve to be cheated. The rhythms of this poem imitate both its deliberativeness and uneasy anticipation.
It is as close to blasphemy as Emily Dickinson ever comes in her poems on death, but it does not express an absolute doubt. Rather, it raises the possibility that God may not grant the immortality that we long for.
The borderline between Emily Dickinson's poems in which immortality is painfully doubted and those in which it is merely a question cannot be clearly established, and she often balances between these positions.
For example, "Those — dying then" takes a pragmatic attitude towards the usefulness of faith. Evidently written three or four years before Emily Dickinson's death, this poem reflects on the firm faith of the early nineteenth century, when people were sure that death took them to God's right hand. The amputation of that hand represents the cruel loss of men's faith. The second stanza asserts that without faith people's behavior becomes shallow and petty, and she concludes by declaring that an "ignis fatuus," — Latin for false fire — is better than no illumination — no spiritual guidance or moral anchor.
In plain prose, Emily Dickinson's idea seems a bit fatuous. But the poem is effective because it dramatizes, largely through its metaphors of amputation and illumination, the strength that comes with convictions, and contrasts it with an insipid lack of dignity. The tenderly satirical portrait of a dead woman in "How many times these low feet staggered" skirts the problem of immortality. As in many of her poems about death, the imagery focuses on the stark immobility of the dead, emphasizing their distance from the living.
The central scene is a room where a body is laid out for burial, but the speaker's mind ranges back and forth in time. In the first stanza, she looks back at the burdens of life of the dead housewife and then metaphorically describes her stillness.
The contrast in her feelings is between relief that the woman is free from her burdens and Body English - Danielson Famile - "Tri-Danielson!!!"(Alpha) (CD present horror of her death. In the second stanza, the speaker asks her listeners or companions to approach the corpse and compare its former, fevered life to its present coolness: the once nimbly active fingers are now stone-like. In the last stanza, attention shifts from the corpse to the room, and the emotion of the speaker complicates.
The dull flies and spotted windowpane show that the housewife can no longer keep her house clean. The flies suggest the unclean oppression of death, and the dull sun is a symbol for her extinguished life.
By citing the fearless cobweb, the speaker pretends to criticize the dead woman, beginning an irony intensified by a deliberately unjust accusation of indolence — as if the housewife remained dead in order to avoid work.
In the last line of the poem, the body is in its grave; this final detail adds a typical Dickinsonian pathos. After Emily Dickinson's sister-in-law, Susan, criticized the second stanza of its first version, Emily Dickinson wrote a different stanza and, later, yet another variant for it. The reader now has the pleasure or problem of deciding which second stanza best completes the poem, although Body English - Danielson Famile - "Tri-Danielson!!!"(Alpha) (CD can make a composite version containing all three stanzas, which is what Emily Dickinson's early editors did.
We will interpret it as a three-stanza poem. As with "How many times these low feet staggered," its most striking technique is the contrast between the immobility of the dead and the life continuing around them. The tone, however, is solemn rather than partially playful, although slight touches of satire are possible. The first stanza presents a generalized picture of the dead in their graves. The description of the hard whiteness of alabaster monuments or mausoleums begins the poem's stress on the insentience of the dead.
Day moves above them but they sleep on, incapable of feeling the softness of coffin linings or the hardness of burial stone. They are "meek members of the resurrection" in that they passively wait for whatever their future may be, although this detail implies that they may eventually awaken in heaven.
In what we will consider the second stanza, the scene widens to the vista of nature surrounding burial grounds. Here, the vigor and cheerfulness of bees and birds emphasizes the stillness and deafness of the dead. The birds are not aware of death, and the former wisdom of the dead, which contrasts to ignorant nature, has perished. In what is our third stanza, Emily Dickinson shifts her scene to the vast surrounding universe, where planets sweep grandly through the heavens.
The touch of personification in these lines intensifies the contrast between the continuing universe and the arrested dead. The dropping of diadems stands for the fall of kings, and the reference to Doges, the rulers of medieval Venice, adds an exotic note.
The soundless fall of these rulers reminds us again of the dead's insentience and makes the process of cosmic time seem smooth. The disc enclosing a wide winter landscape into which fresh snow falls is a simile for this political change and suggests that while such activity is as inevitable as the seasons, it is irrelevant to the dead. This stanza also adds a touch of pathos in that it implies that the dead are equally irrelevant to the world, from whose excitement and variety they are completely cut off.
Resurrection has not been mentioned again, and the poem ends on a note of silent awe. Conflict between doubt and faith looms large in "The last Night that She lived"perhaps Emily Dickinson's most powerful death scene.
The poem is written in second-person plural to emphasize the physical presence and the shared emotions of the witnesses at a death-bed. The past tense shows that the experience has been completed and its details have been intensely remembered. That the night of death is common indicates both that the world goes on despite death and that this persisting commonness in the face of death is offensive to the observers.
Nature looks different to the witnesses because they have to face nature's destructiveness and indifference. They see everything with increased sharpness because death makes the world mysterious and precious. After the first two stanzas, the poem devotes four stanzas to contrasts between the situation and the mental state of the dying woman and those of the onlookers.
Moving in and out of the death room as a nervous response to their powerlessness, the onlookers become resentful that others may live while this dear woman must die. The jealousy for her is not an envy of her death; it is a jealous defense of her right to live. As the fifth stanza ends, the tense moment of death arrives. The oppressive atmosphere and the spiritually shaken witnesses are made vividly real by the force of the metaphors "narrow time" and "jostled souls.
The simile of a reed bending to water gives to the woman a fragile beauty and suggests her acceptance of a natural process. In the last stanza the onlookers approach the corpse to arrange it, with formal awe and restrained tenderness. The condensed last two lines gain much of their effect by withholding Body English - Danielson Famile - "Tri-Danielson!!!"(Alpha) (CD expected expression of relief.
Instead of going back to life as it was, or affirming their faith in the immortality of a Christian who was willing to die, they move into a time of leisure in which they must strive to "regulate" their beliefs that is, they must strive to dispel their doubts.
The subtle irony of "awful leisure" mocks the condition of still being alive, suggesting that the dead person is more fortunate than the living because she is now relieved of all struggle for faith. It deserves such attention, although it is difficult to know how much its problematic nature contributes to this interest.
We will briefly summarize the major interpretations before, rather than after, analyzing the poem. Some critics believe that the poem shows death escorting the female speaker to an assured paradise. Others believe that death comes in the form of a deceiver, perhaps even a rapist, to carry her off to destruction.
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