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<FONT> <A href="http://www.new-tradition.org"> moscow times</A> <A href="http://www.new-tradition.org"> new zealand tour</A> <A href="http://www.new-tradition.org"> minnesota historical society</A> <A href="http://www.new-tradition.org"> tour bus</A> <A href="http://www.new-tradition.org"> cosmos tour</A> <A href="http://www.new-tradition.org"> ancient egypt map</A> <A href="http://www.new-tradition.org"> ancient egypt map</A> <A href="http://www.new-tradition.org"> on line bible</A> <A href="http://www.new-tradition.org"> bible name</A> <A href="http://www.new-tradition.org"> free bible software</A> <A href="http://www.new-tradition.org"> las vegas site seeing tour</A> </FONT> the name of the merciful and compassionate God. 1 When the inevitable 1 happens; none shall call its happening a lie!abasingexalting! 2 When the earth shall quake, quaking! and the mountains shall crumble, crumbling, and become like motes dispersed! And ye shall be three sorts; 3 And the fellows of the right handwhat right lucky fellows! 5 And the fellows of the left handwhat unlucky fellows! 6 And the foremost foremost! 2 7 These are they who are brought nigh, 8 In gardens of pleasure! 9 A crowd of those of yore, 10 And a few of those of the latter day! 11 And gold-weft couches, reclining on them face to face. 12 Around them shall go eternal youths, with goblets and ewers and a cup of flowing wine; no headache shall they feel therefrom, nor shall their wits be dimmed! 13 And fruits such as they deem the best; 14 And flesh of fowl as they desire; 15 And bright and large-eyed maids like hidden pearls; 16 A reward for that which they have done! 17 They shall hear no folly there and no sin; 18 Only the speech, Peace, Peace! 19 And the fellows of the rightwhat right lucky fellows! 20 Amid thornless lote trees. 21 And talh 3 trees with piles of fruit; 22 And outspread shade, 23 And water out-poured; 24 And fruit in abundance, neither failing nor forbidden; 25 And beds upraised! 26 Verily, we have produced them 4 a production. 27 And made them virgins, darlings of equal age (with their spouses) for the fellows of the right! 28 A crowd of those of yore, and a crowd of those of the latter day! 29 And the fellows of the leftwhat unlucky fellows! 30 In hot blasts and boiling water; 31 And a shade of pitchy smoke, 32 Neither cool nor generous! 33 Verily, they were affluent ere this, and did persist in mighty crime; and used to say, What, when we die and have become dust and bones, shall we then indeed be raised? or our fathers of yore? 34 Say, Verily, those of yore and those of the latter day shall surely be gathered together unto the tryst of the well-known day. 35 Then ye, O ye who err! who say it is a lie! shall eat of the Zaqqûm tree! and fill your bellies with it! and drink thereon of boiling water! and drink as drinks the thirsty camel. 36 This is their entertainment on the judgment day! 37 We created you, then why do ye not credit? 38 Have ye considered what ye emit? 39 Do we create it, or are we the creators? 40 We have decreed amongst you death; but we are not forestalled from making the likes of you in exchange, or producing you as ye know not of. 41 Ye do know the first productionwhy then do ye not mind? 42 Have ye considered what ye till? 43 Do ye make it bear seed, or do we make it bear seed? 44 If we pleased we could make it mere grit, so that ye would pause to marvel: 45 Verily, we have got into debt 5 and we are excluded. 6 46 Have ye considered the water which ye drink? 47 Do ye make it come down from the clouds, or do we make it come down? 48 If we pleased we could make it pungentwhy then do ye not give thanks? 49 Have ye considered the fire which ye strike? 50 Do ye produce the tree that gives it, 7 or do we produce it? 51 We have made it a memorial and a chattel for the traveller of the waste? 52 Then celebrate the grand name of thy Lord! 53 So I will not swear by the positions of the stars; and, verily, it is a grand oath if ye did but knowthat, verily, this is the honourable Qurânin the laid-up Book! 54 Let none touch it but the purified! 55 A revelation from the Lord of the worlds. 56 What! this new discourse will ye despise? 57 And make for your provision, that you call it a lie? 58 Why thenwhen it 8 comes up to the throat, and ye at that time look on, though we are nearer to him than you are, but ye cannot see,why, if ye are not to be judged, do ye not send it back, if ye do tell the truth? 59 But either, if he be of those brought nigh to God,then rest and fragrance and the garden of pleasure! 60 Or, if he be of the fellows of the right! then Peace to thee! from the fellows of the right! 61 Or, if he be of those who say it is a lie,who err! then an entertainment of boiling water! and broiling in hell! 62 Verily, this is surely certain truth! 63 So celebrate the grand name of thy Lord! 64 Note 1. I. e. the day of judgment. [back]Note 2. I. e. the foremost in professing the faith on earth shall be the foremost then. [back]Note 3. The mimosa gummifera is generally so called in Arabia; but the banana is said to be meant in this passage. [back]Note 4. The celestial damsels. [back]Note 5. I. e. for seed and labour. [back]Note 6. From reaping the fruits of it. [back]Note 7. The ancient Arabs produced fire by the friction of a stick in a hollow piece of wood. [back]Note 8. The soul of a dying man. [back] CONTENTS · BOOK CONTENTS · BIBLIOGRAPHIC RECORD PREVIOUSNEXT Search Amazon: Click here to shop the Bookstore.Welcome · Press <b> <A href="http://www.new-tradition.org"> free bible</A></b> <br> as I have no right to expect that attentive perusal, without which, confined, as I have been, to the narrow limits of a preface, my meaning cannot be thoroughly understood, I am anxious to give an exact notion of the sense in which the phrase poetic diction has been used; and for this purpose, a few words shall here be added, concerning the origin and characteristics of the phraseology, which I have condemned under that name. 1 The earliest poets of all nations generally wrote from passion excited by real events; they wrote naturally, and as men: feeling powerfully as they did, their language was daring, and figurative. In succeeding times, Poets, and Men ambitious of the fame of Poets, perceiving the influence of such language, and desirous of producing the same effect without being animated by the same passion, set themselves to a mechanical adoption of these figures of speech, and made use of them, sometimes with propriety, but much more frequently applied them to feelings and thoughts with which they had no natural connexion whatsoever. A language was thus insensibly produced, differing materially from the real language of men in any situation. The Reader or Hearer of this distorted language found himself in a perturbed and unusual state of mind: when affected by the genuine language of passion he had been in a perturbed and unusual state of mind also: in both cases he was willing that his common judgement and understanding should be laid asleep, and he had no instinctive and infallible perception of the true to make him reject the false; the one served as a passport for the other. The emotion was in both cases delightful, and no wonder if he confounded the one with the other, and believed them both to be produced by the same, or similar causes. Besides, the Poet spake to him in the character of a man to be looked up to, a man of genius and authority. Thus, and from a variety of other causes, this distorted language was received with admiration; and Poets, it is probable, who had before contented themselves for the most part with misapplying only expressions which at first had been dictated by real passion, carried the abuse still further, and introduced phrases composed apparently in the spirit of the original figurative language of passion, yet altogether of their own invention, and characterized by various degrees of wanton deviation from good sense and nature. 2 It is indeed true, that the language of the earliest Poets was felt to differ materially from ordinary language, because it was the language of extraordinary occasions; but it was really spoken by men, language which the Poet himself had uttered when he had been affected by the events which he described, or which he had heard uttered by those around him. to this language it is probable that metre of some sort or other was early superadded. This separated the genuine language of Poetry still further from common life, so that whoever read or heard the poems of these earliest Poets felt himself moved in a way in which he had not been accustomed to be moved in real life, and by causes manifestly different from those which acted upon him in real life. This was the great temptation to all the corruptions which have followed: under the protection of this feeling succeeding Poets constructed a phraseology which had one thing, it is true, in common with the genuine language of poetry, namely, that it was not heard in ordinary conversation; that it was unusual. But the first Poets, as I have said, spake a language which, though unusual, was still the language of men. This circumstance, however, was disregarded by their successors; they found that they could please by easier means: they became proud of modes of expression which they themselves had invented, and which were uttered only by themselves. In process of time metre became a symbol or promise of this unusual language, and whoever took upon him to write in metre, according as he possessed more or less of true poetic genius, introduced less or more of this adulterated phraseology into his compositions, and the true and the false were inseparately interwoven until, the taste of men becoming gradually perverted, this language was received as a natural language: and at length, by the influence of books upon men, did to a certain degree really become so. Abuses of this kind were imported from one nation to another, and with the progress of refinement this diction became daily more and more corrupt, thrusting out of sight the plain humanities of nature by a motley masquerade of tricks, quaintnesses, hieroglyphics, and enigmas. 3 It would not be uninteresting to point out the causes of the pleasure given by this extravagant and absurd diction. It depends upon a great variety of causes, but upon none, perhaps, more than its influence in impressing a notion of the peculiarity and exaltation of the Poets character, and in flattering the Readers self-love by bringing him nearer to a sympathy with that character; an effect which is accomplished by unsettling ordinary habits of thinking, and thus assisting the Reader to approach to that perturbed and dizzy state of mind in which if he does not find himself, he imagines that he is balked of a peculiar enjoyment which poetry can and ought to bestow. 4 The sonnet quoted from Gray, in the Preface, except the lines printed in italics, consists of little else but this diction, though not of the worst kind; and indeed, if one may be permitted to say so, it is far too common in the best writers both ancient and modern. Perhaps in no way, by positive example could more easily be given a notion of what I mean by the phrase poetic diction than by referring to a comparison between the metrical paraphrase which we have of passages in the Old and New Testament, and those passages as they exist in our common Translation. See Popes Messiah throughout; Priors Did sweeter sounds adorn my flowing tongue, &c. &c. Though I speak with the tongues of men and of angels, &c. &c., 1st Corinthians, ch. xiii. By way of immediate example take the following of Dr. Johnson: Turn on the prudent Ant thy heedless eyes,Observe her labours, Sluggard, and be wise;No stern command, no monitory voice,Prescribes her duties, or directs her choice;Yet, timely provident, she hastes awayTo snatch the blessings of a plenteous day;When fruitful Summer loads the teeming plain,She crops the harvest, and she stores the grain.How long shall sloth usurp thy useless hours,Unnerve thy vigour, and enchain thy powers?While artful shades thy downy couch enclose,And soft solicitation courts repose,Amidst the drowsy charms of dull delight,Year chases year with unremitted flight,Till Want now following, fraudulent and slow,Shall spring to seize thee, like an ambushd foe. 5 From this hubbub of words pass to the original. Go to the Ant, thou Sluggard, consider her ways, and be wise: which having no guide, overseer, or ruler, provideth her meat in the summer, and gathereth her food in the harvest. How long wilt thou sleep, O Sluggard? when wilt thou arise out of thy sleep? Yet a little sleep, a little slumber, a little folding of the hands to sleep. So shall thy poverty come as one that travelleth, and thy want as an armed man. Proverbs, ch. vi. 6 One more quotation, and I have done. It is from Cowpers Verses supposed to be written by Alexander Selkirk: Religion! what treasure untoldResides in that heavenly word!More precious than silver and gold,Or all that this earth can afford.But the sound of the church-going bellThese valleys and rocks never heard,Neer sighed at the sound of a knell,Or smiled when a sabbath appeared.Ye winds, that have made me your sportConvey to this desolate shoreSome cordial endearing reportof a land I must visit no more.My Friends, do they now and then sendA wish or a thought after me?O tell me I yet have a friend,Though a friend I am never to see. 7 This passage is quoted as an instance of three different styles of composition. The first four lines are poorly expressed; some Critics would call the language prosaic; the fact is, it would be bad prose, so bad, that it is scarcely worse in metre. The epithet church-going applied to a bell, and that by so chaste a writer as Cowper, is an instance of the strange abuses which Poets have introduced into their language, till they and their Readers take them as matters of course, if they do not single them out expressly as objects of admiration. The two lines Neer sighed at the sound, &c., are, in my opinion, an instance of the language of passion wrested from its proper use, and, from the mere circumstance of the composition being in metre, applied upon an occasion that does not justify such violent expressions; and I should condemn the passage, though perhaps few Readers will agree with me, as vicious poetic diction. The last stanza is throughout admirably expressed: it would be equally good whether in prose or verse, except that the Reader has an exquisite pleasure in seeing such natural language so naturally connected with metre. The beauty of this stanza tempts me to conclude with a principle which ought never to be lost sight of, and which has been my chief guide in all I have said,namely, that in works of imagination and sentiment, for of these only have I been treating, in proportion as ideas and feelings are valuable, whether the composition be in prose or in verse, they require and exact one and the same language. Metre is but adventitious to composition, and the phraseology for which that passport is necessary, even where it may be graceful at all, will be little valued by the judicious. 8 CONTENTS · BOOK CONTENTS · BIBLIOGRAPHIC RECORD PREVIOUSNEXT Search Amazon: Click here to shop the Bookstore.Welcome · Press <b> <A href="http://www.new-tradition.org"> womens history</A></b> <br> <A HREF="http://www.new-tradition.org"> god of wonder :4168</A> <A HREF="http://www.new-tradition.org"> study bible :4167</A> <A HREF="http://www.new-tradition.org"> moscow russia :4166</A> <A HREF="http://www.new-tradition.org"> moscow russia :4165</A> <A HREF="http://www.new-tradition.org"> assembly of god church :4164</A> <A HREF="http://www.new-tradition.org"> jew for jesus :4163</A> <A HREF="http://www.new-tradition.org"> middle age weapon :4162</A> <A HREF="http://www.new-tradition.org"> rime of the ancient mariner :4161</A> <A HREF="http://www.new-tradition.org"> st petersburg russia :4160</A> <A 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