This last small group of Bernard's sermons to be published in translation by Cistercian Publications rightly goes by the title De varii in the critical edition. While most of them treat feasts on the church calendar, they do so in a somewhat hit-or-miss fashion. Three sermons also deal with God's will, God's mercies, and the gifts of the Holy Spirit. Two sermons for the feast of Saint Victor are a response to a request to Bernard from the monks of Montiéramey; the Bollandist Life of Saint Victor appears here as a complement to those sermons. Besides the nine sermons normally assigned to the De varii, this volume also includes a sermon on the feast of Saint Benedict that was recently added to the collection in Sources Chrétiennes. The survival of this loose assemblage of sermons outside of the organized collections of Bernard's sermons provides a reminder of Bernard as preacher and writer, able despite all his other activities to turn his hand to preaching when called upon. While they treat of disparate themes, they allow us to encounter the quintessential Bernard-speaking of the life of desire, the true meaning of holiness, and the awakening of the spiritual senses in the search for God.

In this book on The Arnhem mystical sermons, Ineke Cornet offers the first in-depth study of the mystical and theological content of this sixteenth-century sermon collection from St. Agnes in Arnhem.

This volume presents for the first time English-language translations of twelve sermons by St. Claude La Colombière. Canonized in 1992 by Pope John Paul II, Claude was a 17th-century Jesuit priest who authenticated the visions of St. Margaret Mary Alacoque and promoted devotion to the Sacred Heart. Like St. Francis of Assisi, Claude had been a man of privilege, and was a literary figure with a reputation as a master of Christian eloquence. He died a martyr at the age of forty-one. Each sermon in this volume addresses a different issue under the general theme of Christian conduct. Together these sermons present the notions central to Claude's preaching and general attitude, above all the ideas of habituation and confidence in God. Preaching during Claude's lifetime developed under a variety of influences, most notably the thematic sermons of the late medieval period and the humanistic retrieval of classical letters during the Renaissance. Claude worked within and helped to create the stylistic conventions of the day by drawing on scripture and the Church Fathers in an attempt to convert his listeners. Taking a hybrid approach to his craft, he brought a balanced use of rhetorical art into the pulpit so as to please as well as to instruct and move his audience, hereby promoting the development of French classicism in the second half of the seventeenth century. In his commentary on the sermons William O'Brien examines the dynamic vision of the human person that emerges from St. Claude's preaching and considers what this might mean for readers of today. While offering a historical-literary study of his preaching, the work is located firmly in the contemporary quest for a new unity between the theoretical and the practical in Christianity. What results is a book with a unique appeal. General readers interested in their own spiritual growth, as well as scholars and students of religious history, theology, and French literature, will find this book to be a valuable resource.

There are basic problems, and if we can't solve them we should hold off on theorizing. To begin at the beginning, what was Father Flynn's "great wish" for the boy in "The Sisters"? The uncle thinks he knows, but is he right? Can we be sure? How? And how about the beginning and end of "An Encounter"? How do they fit together? What is the specific import to the boy in "Araby" of the shards of conversation between the salesgirl and the Britishers? Can we (or Eveline) be certain of Frank's motives in her story? If not, what relevance do they have? And how in A Portrait of the Artist as a Young Man do Stephen's use and understanding of art evolve? In what crucial respects do they fall short of the understanding a careful reader of the novel can attain? What in Ulysses does Buck Mulligan have in mind when he demands "twopence for a pint" (of what!)? And in what ways are Bloom's ruminations about things like "mity cheese" that "digests all but itself" and saltwater fish ("Why is it that [they] are not...") crucial to the novel? There are bigger questions. What roles do all the accidental occurrences play? Do they heighten or diminish causality and probability? What are the functions of allusion and stylistic experimentation? Is/are there any overriding significance/s to the whole? Is there a didactic component in Joyce's writing? If so, is the didactic element a flaw in his art? What is the relationship between art and instruction--in Joyce and in general? Is good didactic art a contradiction in terms? These latter questions are enticing, but to speculate, theorize, deconstruct, or decontextualize Joyce's works with regard to them without a firm understanding, and perhaps even answers to, the vital though sometimes seemingly trivial former questions is to abrogate critical responsibility and relinquish what one of the formative giants of the twentieth century has to say to us. When relevant, the former are almost always answerable, and the mundane answers, often surprising, are frequently crucial not only for answering the latter questions but for fresh insight into both Joyce's world and our own. By mapping routes to the revelations such mundane "facts" yield, The Cracked Lookingglass establishes a firm base for future interpretations of Joyce's stories from Dubliners through Ulysses. It approaches his works as "fictional histories," grounding its "examplary" readings in relationships among the underlying facts of Joyce's created worlds. The study presents both a method of inquiry and, as examples of its fruit, some of the ways in which the apparent undiscoverables of Joyce's fiction disclose new and indisputable insights into his characters and stories, and through them our world. The approach opens avenues of access to the depths of Dubliners; to the assessments of art, religion, and human relationships in A Portrait of the Artist as a Young Man; to the necessitous underpinnings of Joyce's experimentation in Ulysses, the ground and justification of his uses of "psychocasual chance," the "mythical method," and the seemingly gratuitous stylistic experiments that mirror our lives and suggest new directions for them.

This study utilises John Donne’s works concerning the Jacobean Settlement as a contextualised case study to examine a seriously pressing issue in contemporary society: the issue of Catholic loyalism post-1603 and the disputes that thistopic sparked over the matter of conformity.Altman examines Donne’s polemic in line with the vast expanse of literature relating to the pamphlet war and situates Donne’s arguments within a strong contemporary tradition of conformist thought. Within this context, the study argues that Donne articulated a theory of royal absolutism that would have struck home with many contemporaries who, whether Catholic or not, were faced with a regime determined to bring them into conformity. It further contends that the religio-political standpoint represented by Donne was not only fairly obvious to the English state but was also widely accepted by it.

In this complete guide to expository preaching, Bryan Chapell teaches the basics of preparation, organization, and delivery--the trademarks of great preaching. This new edition of a bestselling resource, now updated and revised throughout, shows how Chapell's case for expository preaching reaches twenty-first-century readers.