A graphic from âHow Our Preachers Dieâ (1918) by Bishop Marion Weekley (1851â1926) that I recreated in Inkscape. A flying pulpit. The project that is the republication of this book continues apace.
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A graphic from âHow Our Preachers Dieâ (1918) by Bishop Marion Weekley (1851â1926) that I recreated in Inkscape. A flying pulpit. The project that is the republication of this book continues apace.
I was at the Anglican tin church in Lara, in County Monaghan. It was featured on RTĂ nationwide.
As Gaedhilg (1600â1945):
âCad ĂŠ seo?â
âIs ĂŠ seo an domhnach stĂĄin suimhte i LĂĄithreach i gConntae MhuineachĂĄin. An tSĂŠipĂŠal Naomh Peadar is ainm doân eaglais seo.â
As Gaeilge (1945â):
âCad ĂŠ seo?â
âIs ĂŠ seo an tsĂŠipĂŠal stĂĄin suite i LĂĄithreach i gContae MhuineachĂĄin. An tSĂŠipĂŠal Naomh Peadar is ainm don eaglais seo.â
In English:
âWhat is this?â
âThis is the tin church situated in Lara, in County Monaghan. Saint Patrickâs Church is this churchâs name.â
A Lovely Irish-Gaelic Phrase Sourced from Dineen:
I found the lovely Irish Gaelic phrase: âgo fuin a shaoghalâ, âuntil the end of his lifeâ in Patrick S. Dineenâs (1860â1934) Irish-English Dictionary 2nd ed. 1927. I then tried to use it in a sentence.
As Gaedhilg (1600â1945):
âNĂĄ caith tobac!â
As Gaeilge (1945â):
âNĂĄ caith tobac!â
In Biblical English:
âSmoke thou not!â
In Modern English:
âDo not smoke!â
As Gaedhilg: (1600â1945):
âDo chaith sĂŠ toitĂnĂ go fuin a shaoghal agus mar sin de fuair sĂŠ bĂĄs deân aillse.â
As Gaeilge: (1945â):
âChaith sĂŠ toitĂnĂ go fuin a shaol agus mar sin de fuair sĂŠ bĂĄs den ailse.â
In English:
âHe smoked all his life, and because of this he died of cancer.â
New YouTube video:
https://youtu.be/Ve8C22jYrNk
Jennifer Bird PhD asked, in a thumbnail, the question: How many creation accounts are there in the Bible? I know of three. I discuss all of them in this video, but, in particular, the lesser known 3rd creation account, where the Jewish god slays a sea monster called Rahab, and fashions the created world with its body. I call attention to the Egyptian sky goddess Nut or Nuit who, seems to me to resemble Rahab, in some respects. The scroll in this thumbnail reads, in Hebrew: âThe Book of Isaiahâ wherefrom I read in this video. I employ the Legacy Standard Bible, in this video, because, as Kipp Davis points out: we really ought to translate the tetragrammaton as âYahwehâ and not as âLORDâ. The LSB is to be commended for doing this.
____
Video 1: In this YouTube Short, I discuss the Rivulet's frontispiece.
Figure 1: The Rivulet's frontispiece, as recreated by me in Inkscape.
In this video, I discuss a frontispiece from Thomas Toke Lynchâs (1818â1871) The Rivulet (1883) that I recreated by means of pencils, Microsoft Paint 3D and Inkscape. In publishing , a frontispiece is a thematic illustration at the beginning of a book. I hope to bring forth a new edition of this work, eventually.
âAnchora SpeÄŤâ
in Latin means:
âAnchor of Hopeâ
. This seems to be a theme of this work: i.e. a presentation of songs, or poems of cheer so as to retain hope in a cruel world that provides us with so many temptations to despair.
A pencil sketch of George Whitefield (1714â1770) that I am working on. He would raise his hands up and say:
âFlee from the wrath to come!â
A character! Given his rumoured closeted homosexuality, I tried to capture a bit of a gay twinkle in his eyes.
Figure 1: A pencil drawing by me of the Three Shining Ones at the Cross from Pilgrimâs Progress.
The Three Shining Ones at the Cross from Pilgrimâs Progress:
Listening to âThe Pilgrimâs Progressâ (1678), and books about âThe Pilgrimâs Progressâ (1678), is how I go to sleep at night. Though I disbelieve in all of Calvinist Christianityâs supernatural claims, nevertheless, I consider âThe Pilgrimâs Progressâ to be an excellent psychological novel, with much secular import. Derry atheist and socialist, Eamonn McCann commends the anti-capitalist critique of Vanity Fair, in the novel. The magazine, Vanity Fair, is, of course, the magazine that employed the late popularizer of New Atheism, Christopher Hitchens (1949â2011). One of the characters in the Book is of course Atheist, who meets our two Pilgrims as they are traversing the Delectable Mountains, and making their way to Beulah. This part of the allegory denotes middle age, heading into Old Age. Incidentally, Bunyan was 50, when Pilgrimâs Progress was published. I like to see this incident as Bunyan grappling with his own temptations to atheismâwhich he admits to having in his Memoirs âGrace Aboundingâ (1666). In my estimation, the writings of Bunyan are a lot more subversive than what they are usually presented as.
If a disbeliever in the supernatural claims of Christianity, then simply imagine the Pilgrims dissolving in the River of Death, and the novel still kinda works.
John Bunyan (1628â1688) is an unlikely atheist hero... however, he has always had atheist admirers. McCann is a contemporary atheist admirer of Bunyanâs. I would love to go and see the John Bunyan museum in Bedford, England, some day. I have family in Bedford.
#christianity #bunyan #drawing #calvinism #reformed #latin #classics #books @eamonnmccann
As I see it, one of the books which Pilgrimâs Progress influenced was âAliceâs Adventures Undergroundâ (1865). Alice says that she only likes books with pictures in them. Pilgrimâs Progress has almost always been published with rich illustrations.
âTrÄs LĹŤcentÄs ad Crucemâ is Latin for: âThe Three Shining Ones at the Crossâ.
Video 1: A short that I made on my YT create app on my android phone.
Figure 1: A rather large house spider that I observed yesterday, and that I took a photo of with my Xiaomi 13T Pro which has a Leica camera built into it.
I saw this big house spider on my wall, and so I took a photo of it, and turned it into a YouTube Short on my YT Create android app.
Transcript:
As Gaeilge (1945â):
Cad ĂŠ seo ar an mballa? Is ĂŠ seo damhĂĄn alla ar an mballa.
In English:
What is this on the wall? This is a spider on the wall.
Video 1: In this video, I discuss Bertrand Russellâs ideas on what an Irishmanâs definition of a net might be, in Irish Gaelic.
Figure 2: Cover art for the Librivox edition of âThe ABC of Atomsâ.
Transcript:
CIARAN AODH MAC ARDGHAIL:
â Last night, I was reading The ABC of Atoms (1923) by Bertrand Russell (1872â1970). At first, atoms can really only be described by way of analogy, and the analogy that Russell punts for in the bookâs introduction is that of a net.
Figure 3:Â A pencil drawing of a net that I, effected with pencils. I also drew a butterfly. ârÄteâ is the Latin word for ânetâ. The nedical term: âretinaâ is related. The ârÄtÄŤnaâ â Latin for: ânet-like stuffâ â is: âa region of the eye featuring light-sensitive cells and fed by a net-like mesh of blood vesselsâ. â A net, like an atom, is a physical object comprising mostly empty space. Russell then introduces us to an Irishmanâs definition of: âa netâ, which, according to Russell, is: âa number of holes tied together with pieces of string.â Although I, as an Irishman, have never heard this definition of âa netâ â and I suspect that few of my Irish compatriots have heard this definition, either â nevertheless, I thought that this might be a swell thing to translate into Irish Gaelic. â
â
Bertrand Russell (1872â1970)
 The ABC of Atoms (1923)
â
As Gaeilge: (1945â):
âIs ĂŠ sainmhĂniĂş Ăireannaigh an fhocail âlĂontĂĄnâ nĂĄ âuimhir poll ceangailte le chĂŠile le pĂosa tĂŠada.ââ
Bertrand Russell (1872â1970)
The ABC of Atoms (1923)
In English:
âAn Irishmanâs definition of âa netâ is âa number of holes tied together with a piece of string.ââ
Bertrand Russell (1872â1970) The ABC of Atoms (1923)
My kofi account:
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The Rivulet: Hymns for Heart and Voice:
The Rivulet caused a Theological controversy between suspected Modernists, such Thomas Toke Lynch (1818â1871), and Anti-modernists such as Charles Haddon Spurgeon (1834â1892). The Rivulet Controversy has an entire chapter dedicated to it in Spurgeonâs Autobiography, and Ian Murray mentions the Rivulet Controversy of 1855 in his book The Forgotten Spurgeon (1966â2012). Given that I find the History of Calvinism fascinating, I thought that I would record this book as an audiobook so as to give more context to a Theological controversy that embroiled a young Charles Haddon Spurgeon. The below linked video comprises part one of this controversial hymnal.
Link to Transcript as Word Document:
https://1drv.ms/w/s!Aon4q4RsUuHYhvYIitWI70pf7Te78g?e=jy68II
____
âAn PĂĄipĂŠarâ: A New Irish-Language Weekly Newspaper:
I have begun to read âAn PĂĄipĂŠarââIrish Gaelic for âThe Paperââin an effort to improve my reading comprehension as regards the Irish language.
I have an interest in Historical Linguisticsâthe study of how the grammar of a language evolves through timeâwhich is why I give two versions of the Irish language: the âClassicalâ Modern Irish, that existed from roughly 1600â1945, as well as todayâs Modern Irish as defined by An CaighdeĂĄn OifigiĂşil (2017). âAn CaighdeĂĄn OifigiĂşilâ is Irish Gaelic for: âthe official standardâ. The Irish Government created a proto-version of the CaighdeĂĄn in 1945, and has revised the CaighdeĂĄn, periodically, since then.
As Gaedhilge (1600â1945):
âAtĂĄim ag lĂŠigheamh âAn PĂĄipĂŠarâ, pĂĄipĂŠar nuadhachta seachtmhaineamhail nuadh.â
As Nua-Ghaeilge (1945â):
âTĂĄim ag lĂŠamh âAn PĂĄipĂŠarâ, pĂĄipĂŠar nuachta seachtainiĂşil nua.â
In English:
âI am reading âAn PĂĄipĂŠarâ, a new weekly newspaper.â
Figure 1: a screenshot of YouTube Thumbnail for a Trailer for the âWe will dance againâ Documentary.
âWe will dance again.â in Hebrew:
I learn Hebrew, because it is the language of the Hebrew Old Testament. However, that said, there is a huge overlap, in terms of grammar and vocabulary, as regards Modern Hebrew and Ancient Biblical Hebrew. One thing that fascinates me is Historical Linguistics. Thus, tracing Hebrew as it matures through three stages in the Hebrew Bible, and then as it becomes Talmudic and Medieval Hebrew, and then as it becomes Modern Hebrew in the 1800s, and how that dialect of Hebrew has developed up until today, is something that is extremely interesting to a budding amateur linguist.
That I study Hebrew, in no way signifies that I am a sympathiser of Israelâs.
âWe will dance again.â
in Hebrew would be:
â×Ö˛× ÖˇÖŤ×Ö°× ×Öź × Ö´×¨Ö°×§ÖŤ×Öš× ×ÖźÖľ× ×Š××Öź×.â
or, transliterated:
âĘaĚnaĚcÍĄhnuĚw nirÉqoĚĚwdÍĄh kͥħeĚÍĄin sÍĄhuĚwbÍĄh.â
âwe willâ is the emphatic future of âwe shallâ. I carried this emphasis over into Hebrew with the adverb: âkͥħeĚÍĄinâ, which literally means: âyesâ, and which can be employed as an emphatic, in Hebrew.
However, looking this phrase up online, there appear to be more implicit, or less literal renderings of âWe will dance againâ employed, and, perhaps, preferred by Modern Hebrew speakers.
In Biblical Hebrew, there isn't really a future tense, and so futurity would have to be indicated in other ways. The adverb, âshĂťwbhâ, or, âagainâ, would seem to indicate future action.
What is an imperfective aspect in Biblical Hebrew is a future tense in Modern Hebrew.
Whereas ânirÉqoĚĚwdÍĄhâ, above, represents imperfect aspect in Biblical Hebrew, it represents a future tense in Modern Hebrew.
Sorry, but Hebrewâs my favorite language, so Iâm gonna rant.
Not quite, not sure where OP got this translation or translation, but you over complicated it.
First, OPâs translation isnât natural, the original Hebrew is âע×× × ×Š×× ×רק××â, translates to âweâll return to danceâ IPA for modern Hebrew: /(Ę)od naĘuv liĘkod/.
The transliteration is also not quite accurate, it seems to combine Tiberian pronunciation a bit of Ashkenazi pronunciation, and reconstruction of Biblical Hebrew, and non standardized way of transliterating certain phonemes that donât have a single letter representation in English (or at all), like representing /Ę/ (commonly represented by <ĹĄ> by linguists, and by <sh> in English), as sÍĄh, or representing [kʰ] as kͥħ.
Also, the biggest thing is that × is used as a mater lectionis in these words, so it only represented the vowels, and not the consonant /w/.
Sorry for the rant, but OP is right about Biblical Hebrew not having a future tense, and modern Hebrewâs future tense evolved from BH imperfective.
damn you did this for me and far better than i would, thank you
Hi, OP here. There is a difference between transliteration and Phonemic transcription. I explain my idiosyncratic way of transliterating Hebrew in this codepen post. I am following the Classical Biblical pronunciation, which, I think, is still partially used by Modern Yemenite speakers. Yeminite is a dialect, or way of pronouncing, modern Hebrew.
...
Figure 1: a screenshot of YouTube Thumbnail for a Trailer for the âWe will dance againâ Documentary.
âWe will dance again.â in Hebrew:
I learn Hebrew, because it is the language of the Hebrew Old Testament. However, that said, there is a huge overlap, in terms of grammar and vocabulary, as regards Modern Hebrew and Ancient Biblical Hebrew. One thing that fascinates me is Historical Linguistics. Thus, tracing Hebrew as it matures through three stages in the Hebrew Bible, and then as it becomes Talmudic and Medieval Hebrew, and then as it becomes Modern Hebrew in the 1800s, and how that dialect of Hebrew has developed up until today, is something that is extremely interesting to a budding amateur linguist.
That I study Hebrew, in no way signifies that I am a sympathiser of Israelâs.
âWe will dance again.â
in Hebrew would be:
â×Ö˛× ÖˇÖŤ×Ö°× ×Öź × Ö´×¨Ö°×§ÖŤ×Öš× ×ÖźÖľ× ×Š××Öź×.â
or, transliterated:
âĘaĚnaĚcÍĄhnuĚw nirÉqoĚĚwdÍĄh kͥħeĚÍĄin sÍĄhuĚwbÍĄh.â
âwe willâ is the emphatic future of âwe shallâ. I carried this emphasis over into Hebrew with the adverb: âkͥħeĚÍĄinâ, which literally means: âyesâ, and which can be employed as an emphatic, in Hebrew.
However, looking this phrase up online, there appear to be more implicit, or less literal renderings of âWe will dance againâ employed, and, perhaps, preferred by Modern Hebrew speakers.
In Biblical Hebrew, there isn't really a future tense, and so futurity would have to be indicated in other ways. The adverb, âshĂťwbhâ, or, âagainâ, would seem to indicate future action.
What is an imperfective aspect in Biblical Hebrew is a future tense in Modern Hebrew.
Whereas ânirÉqoĚĚwdÍĄhâ, above, represents imperfect aspect in Biblical Hebrew, it represents a future tense in Modern Hebrew.
The Stony Grey Soil of Monaghan:
as Gaedhilge*:
âcrĂŠ clochach liath MhuineachĂĄinâ
nĂł:
âithir clochach liath MhuineachĂĄinâ
PĂĄdraig CaomhĂĄnach (1904â1967)
In English:
âthe stony grey soil of Monaghanâ
Patrick Kavanagh (1904â1967)
Figure 1: âthe stony grey soil of Monaghanâ in Irish Gaelic, in my own handwriting.
Figure 2: âthe stony grey soil of Monaghanâ in Irish Gaelic, in BunchlĂł Ărsa.
____
* In Modern Standard Irish: âas Gaeilgeâ
The Motto of the Ulster Freedom Fighters: âFeriÄns tegĹâ, âStriking, I defendâ:
In this video, I examine the Latin motto of the Loyalist Terrorist group, the Ulster Freedom Fighters, which is: âFeriÄns TegĹâ, âstriking, I defendâ. This, of course, refers to the clenched fist, a clenched Red Hand of Ulster, depicted in the Ulster Freedom Fightersâ coat of arms. The Ulster Freedom Fighters is a nomme de guerre, a name of war, for the Ulster Defence Association, which was actually a legal organisation until it was eventually proscribed in 1992.
I discuss three extremely charismatic figures to have emerged from the Ulster Defence Association: Andy Tyrie, Ray Smallwoods (1949â1994) and John McMichael (1948â1987). I also briefly discuss the Independent Ulster movement, which seeks to make Northern Ireland an independent realm of the Commonwealth.
âin mediÄs rÄsâ or: â[jumping] into the middle mattersâ: a style of storytelling:
In this video, I discuss a style of storytelling or a style of narration termed: âin mediÄs rÄsâ. Instead of beginning a novel at the beginning, and ending at the end, why not throw your protagonist into the middle matters of the novel. Then, as the novel progresses, alinear storytelling may be employed so as to fill in what happened in the beginning. Perhaps a novelist might do this by employing flashbacks. Perhaps the main character might be musing to himself/herself, in an angst-ridden state of mind as regards what happened in the beginning.
Latin Grammar (Parsing):
âinâ, Latin preposition that governs the accusative when motion towards something is implied. Hence, in this instance, we translate: âinâ as: âintoâ.
âmediÄsâ, Latin first and second declension adjective. A morphology of: âmedius, media, mediumâ. âmediÄsâ is governed by the preposition: âinâ, and agrees in gender, number and case with ârÄsâ. âmediÄsâ is feminine in gender; plural in number, and accusative in case. The Latin adjective: âmediusâ means: âmiddleâ.
ârÄsâ, Latin 5th-declension feminine noun. A morphology of ârÄsâ genitive singular: ârÄĚiâ. ârÄsâ is governed by the preposition: âinâ, and agrees in gender, number and case with âmediÄsâ. ârÄsâ is feminine in gender; plural in number, and accusative in case. The Latin noun: ârÄsâ means: âthingâ, or: âmatterâ.
Hence: âin mediÄs rÄsâ is a Latin accusative phrase that means: â[jumping] into the middle thingsâ or: âjumping into the middle mattersâ.
And Yet For All This Godâs [Mysterious] Plan Was Being Accomplished:
Figure 1: Pictured, Socratesâs drinking Hemlock, and dying, as recounted in the Phaedo.
The atheist philosopher, Bertrand Russell (1872â1970), in his âA History of Western Philosophyâ (1946â1961) seems to agree with Eric S. Mallinâs âThe Godless Shakespeareâ (2007) in that Homerâs Iliad is really an atheistic satire of the gods.
I detect some atheistic satire in the opening line. A scene of madness, mayhem, murder and revenge greets us, and yet, for all this, Godâs plan is being accomplished, or, in Greek:
ÂŤÎÎšá˝¸Ď Î´áž˝ áźĎξΝξίξĎÎż Î˛ÎżĎ ÎťÎŽ,Âť
or transliterated:
âDiòs dâ eteleĂeto boulÄĚ,â
. To me, in the original Greek, it appears as though the Homeric author is satirising the gods for allowing such âhorrendous sufferingââas atheist philosopher John Loftus puts itâwithin their mysterious âplanâ. Homer, like Shakespeare, seems to be criticising God for not intervening to prevent evil, in the opening line. In Macbeth, MacDuff complains against Godâs providence in His not intervening to prevent MacDuffâs family from being murdered.