King and Douglass to a considerable degree. In "Letter from Birmingham Jail," King responds to the clergymen with logical reasoning whom write his community off as extremist (6). He emphasizes that his community has practiced and highlighted the power of nonviolent protest and communicates that the "excellent way of love and nonviolent protest" is one that they practice (6). This way, Dr. King seems to reclaim and rationalize the charged term 'extremist,' which is often carried with negative connotation. With a string of rhetorical questions, he inquires "Was not Jesus an extremist for love?
He juxtaposes alternatives to the previously mentioned and dreaded scenarios and punishments. Contrarily, he states “[Christ] stands in the door calling and crying with a loud voice to poor sinners” (129). Bringing upon the common idea of God’s acceptance, Edwards appeals to ethos in his final paragraph inserting cheerful thoughts. He establishes juxtaposition, comparing “sins in his own blood, and … hope of the glory of God” (129). Comparing the Devil-like blood with sins sparking the capable ability to reach the hope of God brings a sense of chance and possibility to the audience.
During the Great Awakening, New England colonies –experimented-- a period of spiritual renewal that involved rigorous, emotional prayer and vehement sermons. The purpose of this religious revival was to inspire people to attend to Church and convert nonbelievers. It is of our knowledge that Edwards grew up in an atmosphere composed of Puritan piety and teachings, therefore he was a liege believer in good and evil. According to Puritan doctrine, each individual is directly responsible to God, ergo they had to accept the consequences of their blasphemous actions. Jonathan Edwards was invited to lecture a Connecticut congregation the consequences of sin and being nonbelievers.
"[W]hen thou doest alms, let not thy left hand know what thy right hand doeth" counsels the Bible, thus setting the precedent for all well-meaning members of western society concerning their charitable intentions (Matt. 6.3). Humanity 's motivation to aid others, regardless of the outcome, is oft times spotted by the subtle struggle between selflessness and selfishness. Flannery O 'Connor captures this classic conflict between good and evil in Southern Grotesque fashion through her characters, the protagonist Sheppard and his foil, Rufus Johnson, in [comment2] "The Lame Shall Enter First". [comment3] Challenging the literal paradigm of light and darkness, O 'Connor weaves together well crafted characterization, cryptic dialogue, and both biblical and literary allusion in this paradoxical plot and, by way of Sheppard and the antithetical Rufus, blends the black and white of Christian dogma into an ironic grey.
In the beginning part of the poem Edwards portrayed God as fearful person. He explained in this part of the sermon how easy it is for God to take his enemies down to hell. Besides both of their views of faith, Bradstreet and Edwards have a strong view on God via tone and figurative language. Bradstreet 's tone in her poem “The Burning of Our House”, she was angry and upset, then towards the end of the poem her tone was calm and happy while Edwards tone in his sermon was persuasive and fearful. Bradstreet wrote her poem about her house that burnt down, in the beginning of the poem she was angry and sad that her house burnt down, as the poem went on she started thinking about God and how she will spend her time in heaven and she cheered up.
The second Sola was: Sola Fide, meaning that we aren't saved by works or good deeds but by faith alone in Jesus Christ. Luther loved to emphasize this and teach that you can’t get to heaven through good works. The Third Sola, Sola Gratia meant: That we are only saved by God's grace not our deeds. Martin Luther couldn’t stress enough that we are loved by God and
The coming of Christ had a purpose, namely to serve the Lord and carry on his work. Similarly, we get the prophecy of Christ works as a priest (Psalms 110:4; Hebrew 5:6,10). Similarly, the Messianic Psalms included a prediction of the rejection of Christ. Christ was rejected by the Jews just as it was written in Psalms 118:22-23; Matthew 21:42; Mk. 12:10-11: “The stone which the builders rejected is become the head of the corner”.
When Eliezer first voices his skepticism at Birkenau, he still finds himself praying to God by whispering, “Yisgadal, veyiskadash, shmey raba … May His name be exalted and sanctified” (34). Although he already reveals his uncertainty in religion, when his new boots are covered in mud, Eliezer continues to thank God “in an improvised prayer, for having created mud in His infinite and wondrous universe” (38). Later in the novel, readers notice that Eliezer does not completely abandon praying. He admits, “in spite of myself, a prayer formed inside me, a prayer to this God in whom I no longer believed. ‘Oh God, Master of the Universe, give me the strength never to do what Rabbi Eliahu’s son has done’ ” (91).
Modes were numbered and placed in pairs with the odd-numbered modes called the authentic or original modes and the even-numbered called the plagal or derived modes. A mode could be recognized by its range, dominant and final. (Grout 25) With the idea of a scale or mode as it was called sight singing was now a possibility and an eleventh century monk Guido d’Arezzo helped with this progression. Guido developed a pattern that made sight reading a possibility and to aid him in memorizing he used the hymn, Ut queant laxis in which the six phrases progress in ascending order of the scale at the beginning of each phrase. ( Grout 27) The syllables at the beginning of each phrase are: ut, re, mi, fa, so, la.