DigiCat Publishing presents to you this special edition of "Immortal Youth: A Study in the Will to Create" by Lucien Price. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
Published for the occasion of the Bicentenary of the Birth of the Bab, Immortal Youth is a unique and beautiful volume collecting some of the sacred and authoritative texts of the Baha'i Faith concerning the Bab's life and station. The book is divided into sections covering the birth, declaration, martyrdom, and station of the Bab, followed by a selection of His own prayers and meditations. It includes writings of Baha'u'llah and the Bab as well as writings and recorded utterances of 'Abdu'l-Baha and writings of Shoghi Effendi. As Baha'is the world over gather to celebrate the Twin Holy Birthdays on the occasion of this bicentennial year, it is hoped that Immortal Youth will offer readers a special opportunity to reflect on the significance of the life and station of the Faith's Prophet-Herald.
Ye Fei, who brought along his father's flying immortal from outer space, came to the continent after surviving for 500 years. Even though he was called an idiot by others, his family love and love made him truly feel the warmth of his family.
The rhymes in poems are important to understanding how poets write; and in the nineteenth century, rhyme conditioned the ways in which poets heard both themselves and each other writing. Sound Intentions studies the significance of rhyme in the work of Wordsworth, Keats, Tennyson, Christina Rossetti, Hopkins and other poets, including Coleridge, Byron, Elizabeth Barrett Browning, Swinburne, and Hardy. The book's stylistic reading of nineteenth-century poetry argues for Wordsworth's centrality to issues of intention and chance in poets' work, and offers a reading of the formal choices made in poetry as profoundly revealing points of intertextual relation. Sound Intentions includes detailed consideration of the critical meaning of both rhyme and repetition, bringing to bear an emphasis on form as poetry's crucial proving-ground. In a series of detailed readings of important poems, the book shows how close formal attention goes beyond critical formalism, and can become a way of illuminating poets' deepest preoccupations, doubts, and beliefs. Wordsworth's sounding of his own poetic voice, in blank verse as well as rhyme, is here taken as a model for the ways in which later nineteenth-century poets attend to the most perplexing and important voicings of their own poetic originality.
In the course of his twenty-five years of exile, Badī’uzzaman suffered three terms of imprisonment together with varying numbers of his students, and the treatises he wrote during each of these he later included in the Risāla-i Nūr. In The Rays Collection are “fruits” from all three of his sojourns in the Madrasa-i Yûsufiya, as he called prison, recalling the unjust imprisonment of Joseph (UWP) and that prison is essentially a place of education and training. The Second Ray was the final fruit of Eskişehir Prison (1935-’36), while The Eleventh Ray has as its name Meyve Risalesi, The Fruits of Belief, and was written for his fellow prisoners in Denizli Prison (1943-’44). It consists of eleven Topics, which offer irrefutable proofs of the six main pillars of faith. The last two of the Topics, however, were written in Emirdağ, Badī’uzzaman’s place of compulsory resi dence after Emirdağ.
THERE was a humble restaurant on Charles Street where cabmen and chauffeurs could be induced to tell the story of their lives over a combination-supper of lamb chop and two fried eggs costing (that was in 1912), with coffee and rolls, twenty-five cents. Across the table one evening in the spring of that year sat a young man about twenty-four years old. Anyone would have taken a second look at him; also a third, a fourth, and as many more as good manners would permit. What was there about him that attracted attention? It was hard to say. The dark eyes with a somber light burning in them? The rugged features and swarthy complexion with a ruddy glow of health in each jowl? The hands; very large and finely muscled? (I have never seen a more beautiful pair of hands on a human being.) It was all of these things and none of them. Rather it was the look of one with immense forces in reserve, bound on an errand.
