Dunn, James D. G. The Cambridge Companion to St Paul. Cambridge: Cambridge University Press, 2003. Hope Felder, Cain. "The Letter to Philemon: Introduction, Commentary and Reflections." The New Interpreter's Bible, 2000: 891-905.
His foe thrust the weapon with such force that he killed the thane and wounded the king as well through his dead body (85-86). So the ethic of loyalty in Anglo-Saxon society was perhaps as strong as the duty to one... ... middle of paper ... ...78ff.). These words celebrate the deceased as a ruler who has shown a father’s benevolence and warmth of heart in relation to his people. This is Christianity in action, the gospel applied to life, the perfect king.
While Milton is very much working under the circumscription of Greek tragedy, his choices of interlocutors for Sampson speak to his fascination with a major paradox of Christianity: that man cannot work out his faith alone, and yet he must. By removing all direct divine presence from the poem, Milton explores the consequences of following Christian law without striving for Christian faith. Milton begins Samson Agonistes after the most famous part of the biblical story, after he has been betrayed, blinded and sent to prison. The opening lines speak to the purpose of the whole poem: “A little onward lend thy guiding hand/ To these dark steps, a little further on;/ For yonder bank hath choice of Sun or shade.” (1-3) On the one hand, these lines are merely an exposition of Samson’s movements, but on the other, they reveal a preoccupation with the major themes of the play: guidance and salvation. Milton does not clarify to whom Samson is speaking.
McDonald, Dennis R. "The Homeric Epic and the Gospel of Mark." Journal of Theological Studies (Yale University Press) 52, no. 1 (2000): 196-262. Stamps, Donald C. The Full Life Study Bible. Grand Rapids, MI: Zondervan, 1992.
Koptak, P.E. (2008) 'Personification', in Longman, T. and Enns, P. (ed.) Dictionary of the Old Testament: Wisdom, Poetry & Writings, Downers Grove, IL: IVP Academic. Lamarche, P. (1997) 'The Prologue of John', in Ashton, J.
Murphy’s English Grammar. Cambridge:Cambridge University Press.2004.Print. Richard.C.Jack. Communicative Language Teaching Today.Cambridge University Press.2006 Shovel Martin. Making Sense of Phrasal Verbs.United Kingdom:Prentice Hall International Limited.1992.Print.
Cambridge: Cambridge University Press, 1993. Beale, G. K. "The Book of Revelation." In The New International Greek Testament Commentary. Grand Rapids, MI: Eerdmans/Carlisle Cumbria: Paternoster, 1999. Bredin, Mark.
However, because of pride humans often forget that God is its creator, that are created beings, and which are therefore dependent on God. God sends Death to Everyman because of their ignorance toward him (Goldhamer 2). On some point of our lives we well have to give an account for our actions. Death warns the hero that "before God thou shalt answer" (107). In other words, Death tries to frighten the reader and the character (Goldhamer 3).
A man must live, or die, by his honor. In The Dream of the Rood the crucifixion of Christ is depicted as the ultimate symbol of heroism, as all mankind bewailed Christ's death and prepared a gilt cross for him. "This was surely no felon's gallows, but holy spirits beheld it there, men upon earth, and all this glorious creation. Wonderful was the triumph-tree, and I stained with sins, wounded with wrongdoings. I saw the tree of glory shine splendidly, adorned with garments, decked with gold, jewels had worthily covered Christ's tree."
Frank, Roberta. “The Beowulf Poet’s Sense of History.” In Beowulf – Modern Critical Interpretations, edited by Harold Bloom. New York: Chelsea House Publishers, 1987. The Holy Bible, edited by dom Bernard Orchard. San Francisco: Ignatius Press, 1966.