Contextualising biblical teaching entails the adoption of certain forms, terms or thought patterns that might confuse the original message, especially if the effort takes place in a Javanese culture context that is full of subtlety and indirect communication. This study analyses a Javanese poetry form that contains the narrative of Jesus’ encounter with a Samaritan woman. The indigenous poems are widely sung by the adherents of Javanese indigenous religions. However, only a few studies are conducted on such indigenous poems that (...) contain Christian messages. This study examines whether or not the poetry form and religious terms that the writer used could serve as a vehicle to convey the good news message of the narrative of John 4:4–42 instead of creating impediment. Through literary form analysis followed by content analysis, the results showed that the Javanese poem contains several cantos, each with an embedded meaning. Finally, it intends to demonstrate how a combination, instead of contestation, of the indigenous, Islam and Christian terms is effective for the writer’s purpose. Thus, the writer’s choice was suitable in his effort to communicate the original teaching.Contribution: This study contributes to inter-religious communication by identifying the Javanese indigenous communication pattern, particularly the placement of their messages inside their poem’s structure and in various terminologies. Strengthening inter-religious communication to create a mutual understanding in Indonesian pluralistic society is needed especially as the Javanese indigenous religions are often misunderstood. (shrink)

Keywords Voltaire - Jesuit - Religious poems.

Born in 1315, Shamseddin Mohammad, known as Hafiz, grew up in the city of Shiraz where he studied the Qur’anic sciences. In his youth he learned the Quran rigorously and assumed the epithet ‘Hafiz’ which means the one who knows the Quran by heart. Also known as the ‘Tongue of the Hidden’ and the ‘Interpreter of Secrets’, Hafiz utilizes grand religious ideas and mingles them with Sufistic teachings, thereby creating a kind of poetry which baffles interpretation. The poetry of (...) Hafiz has intoxicated and continues to intoxicate many in the world. The exhilarating effect of his poetry was also known to the poet himself. In one of his poems, he says that the angels are memorizing his poems in heaven and that Venus is enraptured and that Christ rjoices in his songs: “What marvel that in heaven are sung/ The dulcet words by HAFIZ strung?/Or that, by Venus’s air entranced,/Messiah in his sphere has danced?” As Friedrich Nietzsche has said of Hafiz: “Bist aller Trunkenen Trunkenheit/ wozu, wozu dir-Wein? (the intoxication of all intoication you are/what need do you have to ask for wine?)”. (shrink)

Keywords Religious poem - Metaphysical poem.

A study of the effect of mysticism & theology on the philosophy & the works of three noteworthy 17th century poets: Donne, Browne & Vaughan.

Compiled by a leading scholar of Chinese poetry, _Clouds Thick, Whereabouts Unknown_ is the first collection of Chan poems to be situated within Chan thought and practice. Combined with exquisite paintings by Charles Chu, the anthology compellingly captures the ideological and literary nuances of works that were composed, paradoxically, to "say more by saying less," and creates an unparalleled experience for readers of all backgrounds. _Clouds Thick, Whereabouts Unknown_ includes verse composed by monk-poets of the eighth to the seventeenth centuries. (...) Their style ranges from the direct vernacular to the evocative and imagistic. Egan's faithful and elegant translations of poems by Han Shan, Guanxiu, and Qiji, among many others, do justice to their perceptions and insights, and his detailed notes and analyses unravel centuries of Chan metaphor and allusion. In these gems, monk-poets join mainstream ideas on poetic function to religious reflection and proselytizing, carving out a distinct genre that came to influence generations of poets, critics, and writers. The simplicity of Chan poetry belies its complex ideology and sophisticated language, elements Egan vividly explicates in his religious and literary critique. His interpretive strategies enable a richer understanding of Mahayana Buddhism, Chan philosophy, and the principles of Chinese poetry. (shrink)

This essay reconsiders the haphazard arrangement of Donne's first printed collection of poems in relation to an elegy written for Donne by one Thomas Browne, published for the first and only time in that same volume. The earliest recorded response we have to Donne's verse considered as a complete body of work, Browne's elegy thematizes the readerly tendency to interpret this textual body in the light of "subjective" notions of "proper" desire. Through a close reading of Browne's poem, in (...) which I contextualize his key image of the bad reader as a "circumciser" within the theological and medical discourses of the period, I argue that Browne's response to Donne's text is at once instructively prescient -- providing a useful allegory of reading for the contemporary critic -- and also helpful in situating Donne at the cusp of a historical transformation between "medieval" and "early modern" conceptions of the sexual and the spiritual.IThe structural organization of John Donne's first printed book of poetry makes no obvious sense. Published posthumously in 1633, the collection eschews even the basic generic distinctions so familiar to Donne's modern audience: "Songs and Sonnets," "Satires," "Verse Letters," and "Divine Poems" . Several readers over the years have commented upon the disorderly configuration of Donne's 1633 text; and most recently, Leah Marcus has provided a detailed analysis of the collection in Unediting The Renaissance, itself an ambitious attempt to combine the traditional skills of textual bibliography with the insights of poststructuralist theory. Among other things, Marcus asserts that the very layout and internal composition of Donne's first collection constitute graphic evidence for the ultimate impossibility of "fixing" him within any reductively binary scheme. Indeed, for Marcus, the version of Donne projected by the 1633 Poems confirms not only her deconstructivist principles but also her aesthetic taste more generally. In her words, the collection is a striking melange of sacred and secular that refuses to separate John Donne from Jack. Verse epistles . . . jostle up against scurrilous amatory verses and evocations of human decay in a rough gallimaufry of mingled passions that projects a John Donne very like the Donne most of us value, a Donne for whom the sacred and secular are so closely entwined as to be inseparable.This reading would probably not be considered controversial in most quarters, and I too am in agreement with the main points of Marcus's argument, insofar as they go. However, I want to pause for a moment over one of the more undeveloped aspects of Marcus's interpretation, encoded in her use of the phrase "most of us." As the context makes clear, by "most of us" Marcus means a rather small band of nonreligious or liberal, professionalized, twentieth-century readers. Of course, Marcus is perfectly justified in assuming that her audience will be drawn from exactly this narrow demographic , but at the same time it must also be admitted that "most of us" therefore only refers to the tiniest portion of Donne's actual historical readership. Given that Marcus is performing an analysis of Donne's 1633 Poems, then, one obvious question emerges from her account: How might readers in 1633 have responded to the collection's juxtaposition of the religious with the secular? What might its disorganization have signified for them?One possible answer to this question has been suggested by Arthur F. Marotti, perhaps the most influential of Donne's textualist critics. In Manuscript, Print, and the English Renaissance Lyric, Marotti suggests, against Marcus, that Donne's first editors deliberately delay the readerly encounter with Donne's more earthly lyrics by burying them toward the back of the book. In other words, according to Marotti, the appearance of random disorganization that Marcus values is actually an intentional blind -- the result of a conscious attempt to "protect the reputation of Dean Donne from moral taint."However, this ingenious theory is not without flaws. For example, we are required to accept Marotti's contention. (shrink)

A contemporary of Giordano Bruno and Galileo, Tommaso Campanella was a controversial philosopher, theologian, astrologer, and poet who was persecuted during the Inquisition and spent much of his adult life imprisoned because of his heterodox views. He is best known today for two works: _The City of the Sun_, a dialogue inspired by Plato’s _Republic_, in which he prophesies a vision of a unified, peaceful world governed by a theocratic monarchy; and his well-meaning _Defense of Galileo_, which may have done (...) Galileo more harm than good because of Campanella’s previous conviction for heresy. But Campanella’s philosophical poems are where his most forceful and undiluted ideas reside. His poetry is where his faith in observable and experimental sciences, his astrological and occult wisdom, his ideas about deism, his anti-Aristotelianism, and his calls for religious and secular reform most put him at odds with both civil and church authorities. For this volume, Sherry Roush has selected Campanella’s best and most idiosyncratic poems, which are masterpieces of sixteenth-century Italian lyrics, displaying a questing mind of great, if unorthodox, brilliance, and showing Campanella’s passionate belief in the intrinsic harmony between the sacred and secular. (shrink)

Nammalvar, a Tamil poet who lived in IX-X centuries, is revered as one of the great mystics of India. His four poetic works are equated with the sacred hymns and are part of the ritual worship in the temples of South India. Artistic images of Nammalvar formed the basis of the philosophy of Vishishta-Advaita several centuries later. The poem “Thiruviruttam” is considered as his early work, where he combines the canons of ancient Tamil poetry and his devoted love for (...) Vishnu-Tirumal. The study presents a religious and philosophical interpretation of the poem. The secret of the poem is its dualism: external beauty and sacred meaning. There is a spiritual meaning in symbols of Tamil poetry. Nammalvar takes canons of his predecessors, poets of the Sangam era. However, he fills one with new content. The author compares ancient Tamil poetry and the work of Nammalvar. The plot describes the love between God and the soul. The poet reveals several types of bhakti or devoted love. The description of bhakti subsequently formed the basis for the classification of souls in the philosophy of vishishta-advaita. Bhakti leads to the transition to Vaikuntha or the heaven city. Sri Vaishnavism teachers turned the description of relationship soul-Vishnu into a spiritual practice. The artistic images of Nammalvar are compared with Hindu concepts such as transcendence, darshan, divine grace and moksha. In South India “Thiruviruttam” is considered the Tamil Rig Veda. Poem is performed at home, in the temple, during festive processes. It helps to find the roots of Vaishnavism and understand its poetic origin. (shrink)

The roots of ‘ancient sport’, or Zurkhaneh, as its name implies, go back to ancient Iran and the rituals of Mithraism, in which believers pray and learn morality and humanity in cave-shape temples built in connection with running water. After the advent of Islam and the fall of the ancient religions, temples gave way to Zurkhanehs, and athletes who, while learning moral teachings, cultivated physical strength to resist external enemy forces and internal oppression, grown in those Zurkhanehs. With a tendency (...) to Sufism, Shi`ism and following the first Imam of the Shiites, athletes became heroes and knights, many of whom today, after hundreds of years, are still the cultural myths of the people of Iran. The ancient sports such as wrestling are a symbol of human and moral virtues, the promotion of which can lead to the growth and development of the moral beauty and chivalry culture among all athletes in various sports and lead to institutionalize characteristics of heroism and magnanimity in society. Ancient sports exercising tools, art and architecture of Zurkhaneh, poems, rituals and personalities form the nature of Zurkhaneh and ancient sports have a great impact on the formation of heroic identity and the way to perform the sport movements with the special instruments of Zurkhaneh, which is accompanied by epic and religious poems. In fact, Zurkhaneh instruments, the type of poems that are recited and the existence of epic and religious patterns complement each other. This process increases the effect of Zurkhaneh on the formation of athletic and heroic identity among sportsmen. As such, it will be suggested that Zurkhareh offers an ethical ideal from which globalized Western sport can learn. (shrink)

The tradition of poets presenting eulogy to the sultan, being common in Turkish-Islamic societies, has strong religious backgrounds. According to the people, the sultanate is of divine origin and obedience to the sultan is obedience to Allah and his Messenger. The people respected the sultans because the Ottoman sultans were seen as the last guardians of the order with their justice. There are many examples of this in literary works such as odes, masnavis, and historical, religious-mystical works. Therefore (...) it is a very shortsighted approach to think that every poet presenting an ode to the sultan only expects rank and material gain. Sultan Bayezid II is an artist and an art-loving sultan who generously patronized scholars, artists and especially poets from all over the world during his princedom of in Amasya and his thirty-one-year reign (1481-1512). Being as an important calligrapher, composer and poet, Sultan Bayezid II is popularly known as "saint" in public. An inâmât book including registers of the gifts given to the poets during the reign of Sultan Bayezid II are an indication of the importance that the sultan gave to the poets. However most of the poets patronized by Sultan Bayezid II are unknown. Jauhari who is one of these poets, also his life and works are unknown. In this article, the newly found poems of Jauhari and the findings about his life are introduced. (shrink)

The history of Milton's reception in Poland suggests that he was mainly seen as a model practitioner of epic poetry, rather than as a political or religious thinker. This conclusion is borne out by comparing two of the three complete translations of Paradise Lost into Polish—the first by Jacek Przybylski (1791), the second by Władysław Bartkiewicz (1902) (the third being Maciej Słomczyński's 1974 translation). The examination of a few crucial passages demonstrates that the earlier translation, Przybylski's, is more successful (...) in representing Milton's linguistic sophistication, theology, and attitude to the Roman Church, than Bartkiewicz's later translation, which, characterized above all by a concern with Catholic correctness, includes many omissions and distortions. Słomczyński's translation, criticized for its theological inaccuracies, is only briefly discussed, as are a few fragments of Milton's work that were translated by other Polish poets. (shrink)

French rebels ate no cupid's earfor ribald amorous naughty complications enfeeblefist's robust ambitions, nurse corruption, enthrallfighter's reason and nudge coward's eros.First, rub a nose clean, engenderfriendly relations and name candidate earmarkedfor roses and nature's compliments: emptyflattery. Read a newspaper, count eminentfailures, rate all notorious collaborators enemies,find rapture at nocturnal clandestine election,foster rebellion, animate novice's campaign energies,frisk, ransack antiquated notions, claustrophobic elementaryfallacies, rattle a nation's complacent experience.Fly, rant at nominations, crass errors,flawed rotten apples, nepotism's classic entryfor rakish adventurers. Nine councillors endfree (...) rampage as neurotics clamor excitedlyfor religious absurdities, needling curious envy. (shrink)

Spinoza's philosophy is often overlooked when it comes to thinking about matters concerning art and culture. While recent work has done much to address this, his philosophy remains ambiguously related to the theorisation of things such as temples, poems, and paintings. This article argues that it is by turning to Spinoza's theorisation of the sacred in the Theological‐Political Treatise, that we can best derive his philosophical position on culture and its objects. I argue that Spinoza locates the sanctity of a (...) religious object–what he calls its “articulateness”–in its particular use‐relation with a people. In a similar manner, Spinoza locates the “meaning” and articulateness of words in the use that people make of them, thereby secularising the sanctification process for cultural objects. I argue that this relation of “use” between cultural‐religious objects and human beings and their societies is the way in which we can best discern Spinoza's philosophical position regarding art and culture, as well as further develop his potential contribution to cultural and art theory. (shrink)

In order to answer our question, "What is the object of the poem?" we must consider two stages of the coming to be of the poem. This is what unqualified organicists forget. The first stage discloses what is called by A. C. Bradley the "subject matter of the poem." It shows the subject matter to consist of the objects of non-aesthetic experience, with whatever structure they may inherently possess as appropriate to their natures, which the poet employs (...) in the making of his poem. These objects can be classified by the philosopher of culture into four main categories: the cognitive, the aesthetic, the moral, and the religious. The reason for including aesthetic objects as possible stuff which makes up the subject matter of the poem is the fact that the artist sometime uses finished poems in the same way in which he uses the rest of his experience, as when a Shakespeare, a Goethe, or a Marlowe employs old poetry to make new. (shrink)

The fifteen “Messenger Leaves” poems Whitman assembled as part of the third (1860) edition of Leaves of Grass exhibit a tension between the prophetic and the sacramental that would become more significant as the United States entered the decade of the Civil War. Comprised of poems that provide warnings and admonitions (the prophetic) and poems that offer consolation and healing (the sacramental), in “Messenger Leaves” Whitman uses biblical models and texts to appeal to the religious sensibilities of the American (...) people. Although “Messenger Leaves” as a cluster was dissembled in the 1867 edition of Leaves of Grass, its religious themes draw attention to Whitman’s envisioning of the third edition as the “new Bible.”. (shrink)

In this companion volume to Singing the Body of God, Steven P. Hopkins has translated into contemporary American English verse poems written by the South Indian Srivaisnava philosopher and saint-poet Venkatesa. These poems, in three different languages - Sanskrit, Tamil, and Maharastri Prakrit -- composed for one particular Hindu god, Vishnu Devanayaka, the "Lord of Gods" at Tiruvahindrapuram, form a microcosm of the saint-poet's work. They encompass major themes of Venkatesa's devotional poetics, from the play of divine absence and presence (...) in the world of religious emotions; the "telescoping" of time past and future in the eternal "present" of the poem; love, human vulnerability and the impassible perfected body of god; to the devotional experience of a "beauty that saves" and to what Hopkins terms the paradoxical coexistence of asymmetry and intimacy of lover and beloved at the heart of the divine-human encounter. Moreover, these poems form not only a thematic microcosm, but a linguistic one embracing all three of the poet's working languages. Like the remembered world of Proust's Combray in the taste of madeleine dipped in tea, or Blake's World in a Grain of Sand, we taste and see, in this one particular place, and in this one particular form of Vishnu, various protean forms and powers of the divine, and trace a veritable summa of theological, philosophical, and literary designs. Each translated poem forms a chapter in itself, has its own individual short Afterword, along with detailed linguistic and thematic notes and commentary. The volume concludes, for comparative reasons, with a translation of Tirumankaiyalvar's luminous cycle of verses for Devanayaka from the Periyatirumoli. As much an argument as an anthology, this book will be of interest to students and scholars of South Asian studies, comparative religion, and Indian literatures. (shrink)

Just about a decade ago, at the very beginning of what has proven now to be a staggeringly long midlife crisis, I wrote a little book about the religious significance of boredom. (I think of this as yin to the yang of more commonplace considerations of the religious significance of beauty.) That book concluded with a brief meditation on “waiting,” in which I distinguished between waiting for meaning and the more proactively creative exercise of waiting on meaning. Daniel (...) Dombrowski’s splendid book on Charles Hartshorne’s aesthetics is of the latter sort, a real service to meaning, both a careful attentiveness to meaning as it is embodied in Hartshorne’s writing and the insightful extension of the latter’s .. (shrink)

We analyze the section from Hesiod’s Works and Days (724–760) that equips the farmer with the expertise necessary to facilitate the household’s harmonious relationship with the gods. We propose that this section with its tabular ordinances represents the earliest collection of Greek religious norms, and we contextualize it both within the structure of the W&D and within the wider framework of Greek religion. The section is carefully developed and purposefully placed towards the end of the poem, with an (...) eye to symmetry and rhythm: Hesiod distributes divinely sanctioned social norms alongside religious norms in three distinct sections of the poem, providing ever more specific cautionary advice in the form of ordinances and injunctions. The passage 724–760 is also artfully structured and divided into ἀπό and ἐπί sections. By drawing attention to overlaps of the Hesiodic material and later inscriptional ritual norms, we demonstrate that they share common linguistic and thematic features. We also demonstrate that well-informed readers such as Plato, Plutarch, and Proclus repeatedly interpreted Hesiod’s norms in the light of their own religious experience. (shrink)

In many countries of the world, courses on religious teaching start from preschool and continue from first grade until the last grade. Regarding the scope and models of these courses there are different applications in various countries. As for our country, the Religion Culture and Moral Knowledge course is compulsory with the 24th article of the 1982 Constitution. Although, in the relevant paragraph of the constitution, the expression of “Religious culture and moral education is among the compulsory courses (...) taught in primary and secondary education institutions” is wide enough to cover both primary and secondary education, this course is taught from the 4th grade of primary school in practice. In the 19th National Education Council held in 2014, a recommendation was made for teaching the Religion Culture and Moral Knowledge course at the 1st, 2nd and 3th grades of primary school. However, there is no experience and educational background related to religious education at these classes. It is obvious that primarily academic studies that will form the basis of this field are needed. Based on this idea, this study aimed to examine a religion course given at the 1st and 2nd grades of primary school through a sample textbook. Accordingly, Mein Islambuch 1/2 textbook prepared for Muslim children in Germany was analyzed by document analysis in terms of its content features. Analysis themes determined in this direction were as follows: “Individual and Social Focused Issues”, “Belief in Allah-Creation Issues”, “Faith-Worship Issues”, “Prophets-Qur’ān Issues” and “Religions-Holidays”. The main question of the research was: “What are the content features of a religious textbook for Muslim students written at primary school levels?” With the results revealed by this research, it is expected to shed light on the studies to be carried out for a course likely to take place at these grade levels in our country. Basic findings of the study, obtained within the scope of the five analysis themes, are as follows: Within the scope of individual and social focused issues, emphasis was identified that Muslim students living in a multicultural society should recognize and introduce their own identity while trying to recognize their interlocutors. It is also emphasized in the book that although there are disagreements with siblings and friends from time to time, they should discover each other’s common aspects. In addition, it was also seen that an ideal Muslim family life is depicted as family elders are valued, parents and children share domestic responsibilities, the family spends time together effectively, and the children can perform some works independently. In the context of belief in Allah-creation issues, the names and attributes of Allah are given and illustrated by various visuals, verses and poems supporting the subject that Allah created the whole universe and possesses infinite power and might. It is also stated in the book that it is impossible to see God by eye but based on what He created His power can be seen and felt. It was determined that this content is presented in a level and scope in which seven-toeight-year-old children can recognize and discover the universe with their own experience, in accordance with their age, experience and level of development. (shrink)