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Michael the Great was elected patriarch of the Syriac Orthodox church in a most instable period. He nevertheless, found time, clarity of mind, and determination to write a voluminous world chronicle, which he completed four years before he died in November 7, Series: Gorgias Chronicles of Late Antiquity 2.

The Chronicle of Zuqnin is a universal history beginning with the Creation according to the biblical account and ending with the time of the Chronicler, the years AD. The author is most probably Joshua the Stylite, a contemporary of the Caliphs al-Mansur and al-Mahdi, who lived in the monastery of Zuqnin that was located near Amid, the Diar-Bakr of modern Turkey. Parts I and II contain compiled sources some of which survived only in this Chronicle.

Brock ; Introduction by Paul C. Composed in the seventh century, it demonstrates enduring concerns of Christian self-definition in Iran, especially with respect to the Zoroastrian priesthood.

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Series: Gorgias Studies in Language and Linguistics This book investigates the interaction between grammatical norms and poetic technique on the basis of a corpus selected from the oeuvre of the payyetan Eleazar be-rabbi Qillir. The first portion of the work is a grammar devoted mainly to morphology and syntax. The second portion of the work is an investigation of the poetic norms, as well as rhetorical techniques employed by Qillir, together with an assessment of their impact on the grammar.

The overall aim of the project is to design an analytical framework within which a self-conscious poetic dialect might be investigated. Series: Analecta Gorgiana This work contains illustrations of the thirteenth century Byzantine New Testament at the Rockefeller-McCormack collection in Chicago with a full description of its text, provenance, and the artistic and theological significance of the miniatures. By Kurt Sherry.

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Series: Gorgias Eastern Christian Studies Kassia the Nun offers a unique glimpse into ninth-century Byzantium in the only woman whose works were included in the corpus of liturgical hymns. It provides readers with an opportunity to know this woman of remarkable intellect, wit, and piety by drawing primarily on her own words.

Edited by Jeffrey B. Series: Perspectives on Philosophy and Religious Thought 5. Specific emphasis is given to phenomena such as dreams, visions, and initiatory rites mediating the divine encounter. Edited and Translated by Eduard Sachau. Series: Syriac Studies Library Three Syriac law codes issued by Syriac Patriarchs under Muslim rule; they include ecclesiastical and civil law with a German translation. By Casimir Emereau.

In this multi-faceted study of Greek texts related to Ephrem, Emereau examines these works from a number of angles, including their poetic form, their influence on homily writers of the 5th cent. By Hubert Grimme. This volume studies the strophic patterns used by Ephrem the Syrian, which the author divides into five types. An appendix deals with possible relationships between Byzantine esp. Forge thee now a fiery eagle ; Forge a bird of fire all flaming — This the mighty pilce shall capture.

Then the bird, that noble eagle, Took his flight, and upward soaring. Forth he flew, the pike to capture. The eagle has already been considered as the symbol of the Omnipotent Spirit. The eagle may here be regarded as that "Hawk of gold " which was the symbol of HoRus, and which the sky is said mystically to mirror — " The stars seem comets, rushing down To gem Thy robes, bedew Thy crown, Like the moon-plumes of a strange bird. By a great wind sublimely stirred ; Thou drawest the light of all the skies Into Thy wake. Not only do the letters SS support the crown, but the whole design is traced in quivering lines, representing the flickering fire of spirit.

The Moon was, as has been seen, the awakener and the assembler of the stars. The Lord and Leader of the Hosts was the Sevenfold Spirit symbolised by the Eagle, but this sevenfold power was sometimes represented by the con- stellation known as the Great Bear, and in fig. The only reason I can surmise for this symbolism is the material fact that Bears hibernate during winter and sub- sist for long periods upon their own fat, and that thus by the simple system of analogy underlying all symbolism the Bear became elevated into an emblem of the Self-Existent, the Everlasting, the I AM.

The foliage among which the Great Bear in the ornament herewith is seated is the mystic Amaranth, a fact confirmatory of this theory, for the Amaranth of the poets was a familar and well-recognised symbol of the everlasting and the incorruptible.

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Lang, pp. Its blood-red flower never fades, but remains red to the last. Milton — " Immortal Amaranth, a flower which once In Paradise, fast by the Tree of Life, Begun to bloom ; but soon for man's offence, To Heaven removed where first it grew.

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The reason why the ancients christened the constellation of the Great Bear by this apparently inappropriate name was in all probability its constitution of Seven Great Stars. The association of Seven with the Spirit of God has persisted to the present day, and Christians still speak of the seveniold gifts of the Septiiovm.

Arnold, p. In the next place, we shall prove that the Wise Men quarrelled with common custom as well as with long tradition, when they pushed down the Seven from its place of honour and dedicated the Five unto the god as the more properly pertaining to him. We roar all like bears and mourn sore like doves. The call of the Spirit was symbolised by the Horn associated with the designs herewith. Note also the Cross of Lux surmounting fig. There is a MS.

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Christian Symbolism, Mrs Henry Jenner, p. In Scandinavian mythology the Horn was fabled to be K preserved under Yggdrasill, the sacred world-tree. Accord- ing to the Finns, it was in " the midst of Heaven," and the Kalevala attributes to it the same magical properties of making the desert blossom like the rose, as were assigned to the Holy Grail — " Fetch the cow-horn from a distance, Fetch it from the midst of heaven ; Bring the mead-horn down from heaven, Let the honey-horn be sounded.

Signs and Syjnbols of Primordial Man, A.

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And the forest borders charming, Borders of the marshes fertile. Nor aught we blow with breath, or touch with hand, Was like that music as it came.

Jack, having overcome certain notorious giants, arrives at the enchanted castle of the infamous Galligantua. Aided by a wicked conjurer, Galligantua has betrayed many knights and ladies into his castle, and by black magic has transformed them into disgraceful shapes. And break the black enchantment straight ; So all shall be in happy state.

In due course Jack slays the giant, the transformed lords and ladies are set free and return to their proper shapes, and the enchanted castle crumbles away into the air like a wisp of smoke. It was prettily feigned by the story-tellers that the giants devoured sheep and oxen, i.

Jacobs, p. Kaufmann, p. So terrible was the endeavour with which Roland sounded his mystic horn that his temples cracked with the eiFort, and the blood streamed from his mouth. Yet, runs the story, his pains were not fruitless, for " now the Frenchmen listen. This mysteri- ous but never-failing call to arms consisted of a small cross of light wood dipped into the blood of a goat and set aflame at its extremities.

At times the symbolic Horn was associated with a Bell which, according to Durandus, typified " acute " and insistent preaching. The Bell formed an essential element in Oriental religious usage, and in Celtic Christianity it was regarded by new converts as the actual type of the God- head. It is related that when- ever the faith or the right was in jeopardy, a Bell rang in the Temple of the Sangreal and that on the sounding of that Bell a Knight went forth sword in hand in its defence. At the modern consecration of a bell, the Bishop says prayers over it which abound in mystic allusions ; amongst others, to the trumpet destroying the walls of Jericho and the thunder driving back the Philistines at Samuel's sacrifice.

Aeneid (Conington 1866)/Book 1

Baring-Gould, p. Kyd, As Titan mounted on the lion's back Had clothed himself in fiery pointed beams, To chase the night and entertain the morn, Yet scarce had Chanticler rung the midnight peal. Peele, 1 He hailed the rising sun and he possessed a crimson comb, which one may surmise, was taken to represent the zigzagged effulgence of the day and the " fiery- pointed beams " of morning.

Thus the Cock was doubly sacred to the Sun, and he was regarded as the Herald who announced the Coming of Apollo. To all the breed This busy ray Thou hast assign'd j Their magnetism works all night, And dreams of Paradise and light. On that occasion a golden cock which is said to be seated on the topmost bough of the Tree of Life does not wait for the dawn, but in honour of the advent of the spiritual sun crows all night long.

The character of this allegoric cock is pointed by the statement that when he begins to crow, "all the cocks in the world are thus stirred up and begin to crow. These spirits, so the Chinese think, abhor the truth of the Sun's light and shrink back into the darkness of Hell. Johnston has several ancient lamps made in cock form. Behold the demons are put to flight! Just recently Chanticler has been rather prominently before the public owing to the genius of M. Rostand, the Proven9al poet. The symbolism of M. Rostand's drama is described by M. He is man as he may be, man as he will be when he has fully realised the divinity latent within him.