In May 1848, Heine, who had not been well, suddenly fell paralyzed and had to be confined to bed. He would not leave what he called his "mattress-grave" (Matratzengruft) until his death eight years later. He also experienced difficulties with his eyes.[59] It had been suggested that he suffered from multiple sclerosis or syphilis, although in 1997 it was confirmed through an analysis of the poet's hair that he had suffered from chronic lead poisoning.[60] He bore his sufferings stoically and he won much public sympathy for his plight.[61] His illness meant he paid less attention than he might otherwise have done to the revolutions which broke out in France and Germany in 1848. He was sceptical about the Frankfurt Assembly and continued to attack the King of Prussia.
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Heine's writings were abhorred by the Nazis and one of their political mouthpieces, the Völkischer Beobachter, made noteworthy efforts to attack him. Within the pantheon of the "Jewish cultural intelligentsia" chosen for anti-Semitic demonization, perhaps nobody was the recipient of more National Socialist vitriol than Heinrich Heine.[73] When a memorial to Heine was completed in 1926, the paper lamented that Hamburg had erected a "Jewish Monument to Heine and Damascus...one in which Alljuda ruled!".[74] Editors for the Völkischer Beobachter referred to Heine's writing as degenerate on multiple occasions as did Alfred Rosenberg.[75] Correspondingly, as part of the effort to dismiss and hide Jewish contribution to German art and culture, all Heine monuments were removed or destroyed during Nazi Germany and Heine's books were suppressed and, from 1940 on, banned.[76]The popularity of many songs to Heine's lyrics represented a problem for the policy of silencing and proposals such as bans or rewriting the lyrics were discussed.[76] However, in contrast to an often-made claim,[77] there is no evidence that poems such as "Die Lorelei [de]" were included in anthologies as written by an "unknown author".[78]
Günderrode is one of those many women writers from as many canons and traditions whose early death has threatened to overshadow all she accomplished while alive. In this sense, she has something in common with (though of course not directly comparable to) the women she describes in this poem. She also appears to be the only woman writer of German romanticism to have depicted sati. The overall fascination with that notoriously amorphous region dubbed "the Orient" in German romantic literature is well documented,6 yet the involvement of women writers in this trend is less researched. As I will discuss in greater detail later in this paper, many of Günderrode's best-known works involve re-imaginings and re-writings of disparate mythologies, stories, and locations that fascinated contemporaneous authors: she wrote longingly of distant countries like Egypt and Persia, as well as the India she envisions in "Die Malabarischen Witwen."7
"Die Malabarischen Witwen" was published in the volume Melete of 1806, a collection which features experimentation with a variety of themes and poetic forms. I will pay close attention to Günderrode's adaptation of and innovation with regard to the sonnet, while also taking care to note how these stylistic accomplishments come at the price of participating in the same exoticizing language of some of her better-known contemporaries. First, I will look at the context of the sonnet in German literature of the nineteenth century, connecting Günderrode's objectification of the widows to conventions of the genre, while...
Welcome to thebaptistry of the temple. This room housesthe baptismal font, and one of the very firstthings you'll notice is that the font sits upon thebacks of twelve strong oxen. Those oxen represent thetwelve tribes of Israel, and they also representthe strength and the power of the gospel of Jesus Christ. The Savior said, "Excepta man be born of water and of the Spirit, he cannotenter into the kingdom of [heaven]." Baptism by immersion forthe remission of sins is an essential saving ordinancein the gospel of Jesus Christ. And here in the temple, wedo baptisms for the dead. Two members of our Church willcome into the baptismal font dressed in white, andthere they will be baptized for their departed ancestors. Baptism for the dead was taughtby the Apostle Paul in the New Testament, and wehave the privilege of continuing that ordinancein the Church today in all of the templesthroughout the world. One of the greatquestions in Christianity is what happens tothose who have never heard of Jesus Christ. His is the only name underheaven whereby a man or a woman can be saved. But yet among all thosewho have ever lived, only a relative fewhave heard of Him, have had the opportunityto learn His doctrine, and to receive the savingordinance of baptism by immersion. That is made possible throughproxy baptism for the dead. There are somepeople who will ask if we are compellingor constraining our ancestors to becomemembers of The Church of Jesus Christ of Latter-day Saints. And the answer is no. It is a loving offering. And they then have theopportunity to accept or reject that ordinance.
We're in the sealingroom of the temple. The word sealing can beequated to a marriage that is forever binding, orput together permanently. At this altar, a manand a woman kneel, take each other by thehand, and by the authority of that holypriesthood power, they are sealed as ahusband and a wife. And if they are true andfaithful to the covenants that they have enteredinto in the temple, then that marriage lasts notjust till death do they part, but for all of eternity. This great powerconnects all generations, as children and parentscan also be sealed together as families for eternity. I love coming into this room. It helps me remember whatit was like when I was a new bride here in the temple. And I remember the hopesand the dreams that I had, the excitement thatI felt, and the love that we had for one another. Every once in awhile, when we have a misunderstandingor a disagreement, I like for my mind tocome back to the temple and remember those thingsI felt on our wedding day. And then it helps putthings into perspective. Something that seems bigbecomes small and insignificant. And I remember that we'remarried not only for this life, but forever.
Learn about over 1,000 camps and ghettos in Volumes I-III of this encyclopedia, which are available as a free PDF download. This reference provides text, photographs, charts, maps, and extensive indexes.
The portrait of George Stevens, the celebrated annotator on Shakspeare, who died in 1800, was bequeathed by him to a relative, Mrs. Gomm of Spital Square; and at that lady's death, some years after, it passed, I have reason to expect, into the possession of her relative, Mr. Fince, of Bishopsgate Street. I have no farther information of it.
By the supposed authority of this statute, and notwithstanding the revocation of the title by Pope Paul III., and its omission in the Bull addressed by Pope Julius III. to Philip and Mary, that princess, before and after her marriage, used this style, and the statute having, been re-established by 1 Eliz. c. 1., the example has been followed by her royal Protestant successors, who wished thereby to declare themselves Defenders of the Anti-papal Church. The learned Bishop Gibson, in his Codex (i. 33, note), treats this title as having commenced in Henry VIII. So do Blount, Cowel, and such like authorities.
The distich, however, appears to have been in use among the Polish Unitarians shortly after the death of Faustus Socinus, as respectfully expressive of the exact effect which they conceived that he had produced in the religious world. Mr. Wallace, in his Antitrinitarian Biography, vol. iii. p. 323., states that it is "the epitaph said to have been inscribed on the tomb of Faustus Socinus." Mr. Wallace's authority for this assertion I have not been able to discover. Bock (Hist. Antitrinitariorum, vol. iii. p. 725.), whom Mr. Wallace generally follows, observes that the adherents of Faustus Socinus were accustomed to use these lines "respecting his decease," (qui de ejus obitu canere soliti sunt). This would seem to imply that the lines were composed not long after the death of Faustus Socinus. Probably they formed originally a part of poem written as a eulogy on him by some minister of the Unitarian church. The case would not be without a parallel.
Which is the original? Bock's reading has the preference in my mind, because he is known to have founded his history on the results of his own personal investigations among the manuscripts as 484 well as the printed documents of the Polish Unitarian Churches. Besides, if, as there is reason to believe, the lines were composed shortly after the death of F. Socinus, ruet (will fall) would now correctly describe what, at so small a distance from the days of Luther and Calvin, may be supposed to have been the feeling among the Polish Unitarians; whereas Dr. Pusey's jacet (lies low, in the present tense) does as certainly partake somewhat of the grandiloquent. That no "boast," however, was intended, becomes probable, when we consider that the distich was designed to convey a feeling of reverence towards Socinus rather than an insult to Rome.
Hard-rocking desert pickers for peace and justiceApril 2, 2013 Bassekou Kouyate & Ngoni ba: Jama Ko (Out Here)I swear I thought the third album by Youssou N'Dour's ngoni man ofchoice might be the best ever to come out of Mali even before I got tothe notes. There I learned that recording began on the day Kouyate'sfriend the president was overthrown by the military, and that twosongs celebrate anti-Islamist heroes of 19th-century Mali--a martyrwhose refusal to leave his animist faith inspired his Muslim protectorto fight to his own death for it and a soldier who drank beer in thesanctimonious face of the Muslim cheikh who'd persuaded him to fightfor a faith he refused to obey to the letter. From the title partyanthem on out, the mood and message are inclusive not just becausesharia law proscribes music altogether but because Timbuktuanti-clericalist Khaira Arby gets a track, because the Taj Mahal cameois the most irreverent Malian blues ever recorded, because every songis fired by Kouyate's political and philosophical passion. Twomelodies reach back centuries. Strong-voiced frontwoman Amy Sackodelivers the word. And although the ngoni is a mere lute, Kouyate getsmore noises you want to hear out of his strings than any two jam-bandhotshots you can name. A 2ff7e9595c