Refreshing Poems to Renew Your Mind in Christ Jesus
Book file PDF easily for everyone and every device.
You can download and read online Refreshing Poems to Renew Your Mind in Christ Jesus file PDF Book only if you are registered here.
And also you can download or read online all Book PDF file that related with Refreshing Poems to Renew Your Mind in Christ Jesus book.
Happy reading Refreshing Poems to Renew Your Mind in Christ Jesus Bookeveryone.
Download file Free Book PDF Refreshing Poems to Renew Your Mind in Christ Jesus at Complete PDF Library.
This Book have some digital formats such us :paperbook, ebook, kindle, epub, fb2 and another formats.
Here is The CompletePDF Book Library.
It's free to register here to get Book file PDF Refreshing Poems to Renew Your Mind in Christ Jesus Pocket Guide.
For it is powers that we can not see- they are affecting you and me. Murders, bullying in the schools kids that do it think its cool.
Refreshing Poems to Renew Your Mind in Christ Jesus - Professor Joe Olubadewo - Google книги
But did you know that their very soul is now with the devil who hates us so? So lets educate the children- the teenagers of what is they are seeing in movies and on T. For the spiritual world obeys and obeys what God does grant Everything that happens in this world is not by luck or chance. If your forefathers did a sin not confessed while they were alive- it now becomes a family curse through your families bloodline. Children are vulnerable and very naive we to protect them from what they see.
The spirit realm is real and we need to know its no joke the evil spirits are really all those ghosts. We have been deceived so lets get smart to know what is really happening in the dark. So please protect your children and educate them on the occult—it is not to be played with for it is the death of the soul. My declaration is that I choose to be an overcomer in Christ. I surrender myself to the journey you have set aside for me and I choose to press into the mark of the prize, which is the high calling in Jesus Christ.
I declare that as a result of my life and response to your commands, it will be said of me well done, thou good and faithful servant. I choose to partake of the promise associated with being an overcomer and I speak them over my life.
Along with the overcomers from the church of Ephesus, it will be given to me to eat of the tree of life, which is in the paradise of God. Along with the overcomers from the church of Smyrna, I will not be hurt by the second death. Along with the overcomers from the church of Pergamos, it will be given to me to eat of the hidden manna. I receive a white stone, and on the stone a new name that no one knows but the one who receives it.
Along with the overcomers from the church of Thyatira, I will be given power over the nations. I also receive the Morning Star. Along with the overcomers from the church of Sardis, I will retain garments that are not defiled. I will walk worthy with you, Lord, in white garments. My name will not be blotted out of the Book of Life and you, Lord Jesus, will confess my name before the Father and His angels. Along with the overcomers from the church of Philadelphia, I will be made a pillar in the temple of God and shall go out not more. Upon me will be written the name of my God, the name of the city of my God, the New Jerusalem, which comes down from heave from my God.
Upon me Jesus, will also write his new name. Along with the overcomers from the church of Laodicea, it will be granted to me to sit with Jesus upon his throne, as he overcame and sat down with the Father upon His throne. I decree these promises over my life in the mighty name of Jesus Christ.
When you die— all these things are nothing to your spirit which is eternity. All worldly entertainment and music- hero cartoons for children, Yelling, swearing, gossip— this things do not glorify Jesus. You have to be separate from the world- which is fooled by the evil one. Every word that I have released that has been against Your will and Your plan for my life and the lives of others. I ask you to forgive me for it. Now Lord from this day forward please give me conviction, give me understanding from the Holy Ghost when I go crosswise from the Word of God.
Help me to bold, help me to be strong. Heavenly Father, You said whoever the Son sets free is free indeed. Now this day forward my words are not only going to set me free, but whoever I speak them over will be set free. My words shall set them free indeed. I thank You for it. From this day forward I will win and never lose. The work is done.
I can walk out. My Savior, Oh, on Calvary. Other poetry: Separated Stuck Advertisements. Like this: Like Loading Photo by Pixabay on Pexels. Stuck Outside. In Me Abide. For the cause of Christ. It requires my life. For I lay it down. Not for world renown. Background on Hearing God This poem is meant to uplift your hearts when you are crying out and hoping to hear from God with a word of assurance.
Photo by Jonas Mohamadi on Pexels. Just be still. He will guide us. May be big. May be small. No mistaking When he calls. Holy Spirit Is our Helper. Psalm Call to me and I will answer you, and will tell you great and hidden things that you have not known. Photo by rawpixel. Not On A Whim. His Promises Are Real. Not Just What You Feel. Background on Song in My Heart Have you ever woke up with a song in your head and your heart?
Song in My Heart Savior, You woke me this morning. With a crown of adorning. Music right from the start. With a song in my heart. And you played it all day. In a special kind of way. I threw in the obstacle. You made all the plans. Preparing your heart, your mind, to make you bold.
Those emergencies keep coming. See, when I give you your desires it will be my best. Hold on to your seat. This is just a test. Photo by Anthony on Pexels. In your wings. Eagles's comment, "How difficult it would be, by any sketch, to convey the subject! This kind of poetic diction reflects the influence of one of Hopkins's teachers at Highgate, Richard Watson Dixon. Dixon had been involved in the vanguard of much that seemed exciting in the art of the time. Dante Gabriel Rossetti had taught him painting and had praised his poems.
Dixon's Christ's Company and Other Poems featured Rossetti's decorative, sensuous beauty and remote dream worlds and a typically Victorian love of wordpainting. Yet Dixon's title emphasizes the fact that his longer poems are High Church hagiographical verses and the Incarnation is a pervasive theme in the poems in this volume.
Dixon had been attracted to the Oxford Pre-Raphaelites who followed Rossetti because of their Ruskinese stress on Christian art and because of the original pietism of the group itself. Almost every member of the group had initially intended to take Holy Orders, but most of them were deflected from their purpose by their desire to be artists. Dixon also at one point had given up his religious commitment to become a Pre-Raphaelite painter, but, unlike other members of the group, Dixon finally did take Holy Orders.
He thus became an important model for Hopkins of the possibility of combining poetic and religious vocations. Hopkins praised and respected Dixon's poetry and even copied out favorite stanzas when he entered the Jesuit novitiate. The affinities between Dixon's poems and Hopkins's early poetry are evident when we compare the descriptions of the sunsets in "The Sicilian Vespers," Dixon's boyhood prize poem, and in "A Vision of the Mermaids," thought by some to be one of Hopkins's best poems at Highgate.
Both teacher and student focus on an isle breaking the sunset's tide of light; and both reveal a preference for iambic pentameter couplets and the adjectival compounds, long sentences, and colorful pictorial images characteristic of Victorian wordpainting. In short, Dixon introduced Hopkins to "the school of Keats" in Victorian poetry.
As Hopkins recalled, Dixon would "praise Keats by the hour. Hopkins's comments about Keats's choice of subjects apply to his own poem as well: "His contemporaries Yet Hopkins could resist the temptation even in his early poetry. Again what he said about Keats applies as well to his own early poems: "even when he is misconstructing one can remark certain instinctive turns of construction in his style, shewing his latent power.
His initial attempt to attain a spiritual vision in "Il Mystico" is fragmented until the speaker finds that his best expression of his aspiration for some other, more perfect realm is an objective correlative in nature, the ascent of the lark, which translates that desire into action.
How to Renew your Mind in 3 Steps
Hopkins cultivated this "instinctive turn" and the result was his first published poem, "Winter with the Gulf Stream," which appeared in the popular periodical Once a Week on 14 February , when Hopkins was only eighteen years old. This poem reveals the beginning of Hopkins's movement away from a pseudo-Keatsian dreamy subjectivity toward imitation of those traits of Keats's most valuable to Hopkins at this stage of his development: mastery of objective correlatives and evocative natural detail. Rather than being introduced to the speaker, as we are in "A Vision of the Mermaids," we are introduced to the object.
The poem begins not with "Rowing, I reached a rock," but with "The boughs, the boughs"; the "I" is not introduced until six stanzas later. The objects to which we are initially introduced are, moreover, more closely observed than those of his earlier poems. Hopkins eventually began to be critical of mere love of detail, however--"that kind of thought which runs upon the concrete and the particular, which disintegrates and drops toward atomism in some shape or other," he wrote in his journal--and he became increasingly aware of the importance of religion as the ultimate source of unity.
His religious consciousness increased dramatically when he entered Oxford, the city of spires. From April of , when he first arrived with some of his journals, drawings, and early Keatsian poems in hand, until June of when he graduated, Hopkins felt the charm of Oxford, "steeped in sentiment as she lies," as Matthew Arnold had said, "spreading her gardens to the moonlight and whispering from her towers the last enchantments of the Middle Ages.
Inspired also by Christina Rossetti, the Catholic doctrine of the Real Presence of God in the Eucharist, and by the Victorian preoccupation with the fifteenth-century Italian religious reformer Girolamo Savonarola, he soon embraced Ruskin's definition of "Medievalism" as a "confession of Christ" opposed to both "Classicalism" "Pagan Faith" and "Modernism" the "denial of Christ".
At Oxford Hopkins's consciousness of competition with contemporaries increased, apparently partly as a result of the tradition of oral contests which persisted at Oxford and also because of Hopkins's decision to focus on classical studies which tended to be highly agonistic and rhetorically oriented. At Highgate Hopkins was encouraged to begin his literary career as a student of Keats by his teacher Dixon, who also showed Hopkins how to resist Keats's dominance, partly by sublimating it in devotional poetry.
While the initiation and direction of Hopkins's creativity in the relationship with Dixon was positive, Hopkins's relationship with a more famous teacher at Oxford, Walter Pater, was fiercely dialectical, with Hopkins defining his position in opposition to Pater's. Yet there was also a curious symbiotic quality in their relationship; they remained friends and shared related interests in Dante, Savonarola, medievalism, and the Pre-Raphaelites. She benefited from the emphasis on the feminine in the Pre-Raphaelite focus on Marian figures such as Dante's Beatrice. When Hopkins met her in he met an icon, the model for the Virgin in the paintings of her brother Dante Gabriel Rossetti.
She influenced Hopkins more than any other contemporary at this point in his career and was particularly important in Hopkins's replacement of Keats with Dante as the dominant paradigm in his poetic imagination. Christina Rossetti became for Hopkins the embodiment of the medievalism of the Pre-Raphaelites, the Oxford Movement, and Victorian religious poetry generally.
In the s Hopkins was profoundly influenced by her example and succeeded, unbeknownst to her and to the critics of his time, in becoming a rival far greater than any of her contemporaries. Their rivalry began with Hopkins's response to her poem "The Convent Threshold. Standing beyond Keats, however, the primary source was Dante. Hopkins read this appeal at a crucial moment in his career, when he was actually considering renouncing his own powerful attraction to this world for a life beyond the cloister threshold.
He translated portions of Rossetti's poem into Latin elegiacs and devoted much of his poetic creativity in to his own response to it, which he called at first "A Voice from the World" later "Beyond the Cloister" and subtitled "An Answer to Miss Rossetti's Convent Threshold. Hopkins's first title identifies his persona as the one whose eyes "look earthward," but he is willing to lift up his gaze:. Hopkins was clearly oriented to the Pre-Raphaelite dream vision in which the poet is represented on a lower plane than the vision.
By taking the part of Rossetti's heroine's earthly lover in his poem, moreover, Hopkins invites a comparison between his persona and Christina's erstwhile lover, James Collinson, who also became a follower of the Pre-Raphaelites and convert to Catholicism and, for a while, a Jesuit. Eventually, by converting to Catholicism himself and joining the Society of Jesus, Hopkins exchanged the inferior position articulated in "A Voice from the World" for a superior one, superior at least in the sense that Christina Rossetti apparently felt that her sister Maria, who actually did cross the convent threshold and become a religious, had achieved a higher stage of religious development than she herself did.
Both Hopkins and Christina Rossetti believed that religion was more important than art. The outline of Hopkins's career follows that of Christina Rossetti's: an outwardly drab, plodding life of submission quietly bursting into splendor in holiness and poetry. Both felt that religious inspiration was more important than artistic inspiration. Whenever religious renunciation and self-expression were felt to be at odds, as they often were, self-expression had to be sacrificed. Poetry had to be subordinated to religion. No doubt partly as a result of this attitude, both Hopkins and Rossetti were subject to intermittent creativity.
Both thought of poetry as a gift which could not be summoned at will, and each turned to prose between bursts of poetic inspiration. In fact each went through a stage of about seven years in which writing prose almost entirely replaced composing poetry. Hopkins's prose period stretched from to , when his literary energies were devoted primarily to his journal.
In addition to passing through periods of writing prose, both poets concluded their literary careers with devotional commentaries: in Hopkins's case, his unfinished "Commentary on the Spiritual Exercises of St. On the other hand, both are often praised by twentieth-century readers for the same feature: the expression of counterpoised forces generating dramatic tensions.
One of the most dramatic tensions was that between their attraction to this world and their determination to transcend it. Like Hopkins, Christina Rossetti often reveals a Keatsian attraction to the life of sensations, especially to nature. Hopkins's wide variety of responses to nature, especially in the s and s, ranging from strong attraction to its beauty to belief that this beauty must be denied on religious grounds, is congruent with the range of Christina Rossetti's responses.
Ultimately, however, she believed that God was not in nature but above and therefore that one must ascend the heavenly stair invoked in "The Convent Threshold," "A Shadow of Dorothea," and other poems. Dorothea" , and his "Heaven-Haven" reveal a similar transition from the natural to the supernatural in his early poetry. Hopkins's "For a Picture of St. Dorothea" originated in that section of his journal devoted primarily to the representation of nature.
However, the flowers in his poem are not rooted in the earth but in legend. Hopkins's aim was not truth to nature primarily in this poem but the revival of medieval legend by defamiliarizing it, putting it in a new context and thereby restoring its original impact in the service of religion. In "Heaven-Haven" Hopkins again responded to the transcendental, otherworldly aspiration so evident in the Dorothea legend and in Christina Rossetti's "A Shadow of Dorothea.
Of the two paths to holiness, the outward or the inward--contemplation of God's presence in this world or contemplation of His presence within the self--by far the most common is the one Christina Rossetti usually followed: withdrawal from the external world in order to plumb the secret depths of one's own soul. Hopkins is perhaps more famous for his nature sonnets which focus on God in nature, but his sonnets of desolation of the s turn inward, returning to the impulse already apparent in "Heaven-Haven," subtitled "A Nun Takes the Veil":.
Hopkins's "A Soliloquy of One of the Spies Left in the Wilderness" is also a response to the recurrent call of desert Christianity. It appears to be based directly on one of the biblical interpretations of the great reformer Savonarola, the famous burner of profane art in Renaissance Italy. As Hopkins commented in a letter, Savonarola was "the only person in history except perhaps Origen about whom" he had "real feeling," because for Hopkins Savonarola was "the prophet of Christian art.
Ultimately, Savonarola's example inspired Hopkins to give up nature, beauty, and art altogether. The sequence of events is clear. Newman received him into the Church in October. On 5 May Hopkins firmly "resolved to be a religious. Finally, in the fall of Hopkins joined a "serged fellowship" like Savonarola's and like the one he admired in "Eastern Communion" , a commitment foreshadowed by the emphasis on vows of silence and poverty in "The Habit of Perfection.
At Highgate, for instance, he argued that nearly everyone consumed more liquids than the body needed, and, to prove it, he wagered that he could go without liquids for at least a week. He persisted until his tongue was black and he collapsed at drill. He won not only his wager but also the undying enmity of the headmaster Dr. John Bradley Dyne.
On another occasion, he abstained from salt for a week. His continuing insistence on extremes of self-denial later in life struck some of his fellow Jesuits as more appropriate to a Victorian Puritan than to a Catholic. Thus it is important to realize that he converted to Catholicism not to be more ascetic, for asceticism was as Protestant as it was Catholic, but to be able to embrace the Catholic doctrine of the Real Presence. This explanation was not enough to satisfy his family, however. Hopkins's letter informing them of his conversion came as a great shock.
He wrote to Newman: "I have been up at Oxford just long enough to have heard fr. Their answers are terrible: I cannot read them twice. Liddon: "The blow is so deadly and great that we have not yet recovered from the first shock of it. The deepness of our distress, the shattering of our hopes and the foreseen estrangement which must happen, are my excuse for writing to you so freely.
Read More Your Daily Prayer
His mother's heart is almost broken by this, and by his desertion from our Church, her belief in, and devotion to, which are woven in with her very being. O Gerard my darling boy are you indeed gone from me? A letter from Hopkins reveals that his father consented to his presence there on one condition: "You are so kind as not to forbid me your house, to which I have no claim, on condition, if I understand, that I promise not to try to convert my brothers and sisters. I have no doubt will be given. Of course this promise will not apply after they come of age.
Whether after my reception you will still speak as you do now I cannot tell. Mary's Hall, Stonyhurst, for his philosophical studies in He spent Christmas away from his family from to He returned to the family hearth for the holiday in subsequent years, but in his Dublin poems still testify to the lonely isolation and anticipation of death characteristic of many Victorian orphans:. When, aged only forty-four, he was finally close to the farthest remove, death, another reconciliation was attempted, but it was too late.
His was a painful and poignant tragedy all too typical of Victorian families. The son did study hard within the churchyard, and he found that the Catholic concept of the Real Presence was his philosopher's stone. The Catholic doctrine of Transubstantiation became for him the mystical catalyst which could transmute into gold, redeem, and regenerate all that is base--what Hopkins called "the triviality of this life," "the sordidness of things.
- More From Plough!
- 7 Spiritual Cleansing Steps to Energize Your Spring Cleaning.
- Reward Yourself.
- Foreign Terrorist Organizations?
- Babys Eyes a Book of Poems with Meaning.
- Cheating on Valentines Day.
As early as June of Hopkins wrote to E. Coleridge: "The great aid to belief and object of belief is the doctrine of the Real Presence in the Blessed Sacrament of the Altar. Religion without that is sombre, dangerous, illogical, with that it is--not to speak of its grand consistency and certainty--loveable. Hold that and you will gain all Catholic truth.
The next month Hopkins wrote to Baillie, "I have written three religious poems which however you would not at all enter into, they being of a very Catholic character. This poem adumbrates the poetic as well as religious importance of Hopkins's belief in the Real Presence of God in the Eucharist, the "Half-Way House" of God in this world as Hopkins called the sacrament in a poem of that name in Though primarily a celebration of the Real Presence, this poem reveals how Hopkins could in his imagination extend the idea of the mystical Body of Christ in the communion bread and wine to the rest of nature.
In this poem the wheat and grapes are not mere raw materials for Transubstantiation but are represented metaphorically as if they were already participating in the Being of God. One of the attractions of the doctrine of the Real Presence for Hopkins was that it was, as depicted in "Barnfloor and Winepress," the central instance of a metaphor participating in the reality it represents, an archetype for a sacramental poetry of nature. This potential for a new sacramental poetry was first realized by Hopkins in The Wreck of the Deutschland. Hopkins recalled that when he read about the wreck of the German ship Deutschland off the coast of England it "made a deep impression on me, more than any other wreck or accident I ever read of," a statement made all the more impressive when we consider the number of shipwrecks he must have discussed with his father.
Hopkins wrote about this particular disaster at the suggestion of Fr. James Jones, Rector of St. Beuno's College, where Hopkins studied theology from to But when in the winter of '75 the Deutschland was wrecked in the mouth of the Thames and five Franciscan nuns, exiles from Germany by the Falck Laws, aboard of her were drowned I was affected by the account and happening to say so to my rector he said that he wished someone would write a poem on the subject.
Renew Us Lord ~
On this hint I set to work and, though my hand was out at first, produced one. I had long had haunting my ear the echo of a new rhythm which now I realized on paper. The first part, consisting of ten stanzas, is autobiographical, recalling how God touched the speaker in his own life. The second begins with seven stanzas dramatizing newspaper accounts of the wreck. Then fourteen stanzas narrow the focus to a single passenger, the tallest of the five nuns who drowned. She was heard to call on Christ before her death.
Most Relevant Verses
The last four stanzas address God directly and culminate in a call for the conversion of England. The Wreck of the Deutschland became the occasion for Hopkins's incarnation as a poet in his own right. He broke with the Keatsian wordpainting style with which he began, replacing his initial prolixity, stasis, and lack of construction with a concise, dramatic unity. He saw nature not only as a pleasant spectacle as Keats had; he also confronted its seemingly infinite destructiveness as few before or after him have done.
Wales clearly provided the occasion for his greatest experience of nature, as it had for Wordsworth on Mt. Everything from ploughed furrows to clouds to their reflections in pools is shining and gleaming. Hopkins wrote in his notes on St. His praise, the reverence due to him, the way to serve him