This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

In this valuable work, George Santayana developed the view that poetry is called religion when it intervenes in life, and religion is seen to be nothing but poetry when it merely supervenes upon life. He states that religion and poetry are celebrations of life. Each holds a great value, but if either is misunderstood for science, the art of life will be lost along with the beauty of poetry and religion. Science provides explanations of natural phenomena, but poetry and religion are joyful celebrations of human life born of consciousness. His views contributed immensely to the debate between science and religion at the turn of the century and continue to impact current discussions about the nature of religion. He remained sympathetic to religion and people with religious beliefs throughout the work. He expressed that the religious doctrine might all be just a delusion, but it is generally a helpful one, and the ideal meaning of religion is the nearest thing we have when it comes to complete truth.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Religion as Poetry continues in the grand tradition of the sociology of religion pioneered by Emile Durkheim, Max Weber, and Talcott Parsons, among other giants in intellectual history. Too many present-day sociologists either ignore or disparage religious currents. In this provocative book, Andrew M. Greeley argues that various religions have endured for thousands of years as poetic rituals and stories. Religion as Poetry proposes a theoretical framework for understanding religion that emphasizes insights derived from religious stories. By virtue of his own rare abilities as a novelist as well as sociologist, Greeley is uniquely qualified for this task.Greeley first considers classical theories of the sociology of religion, and then, drawing upon them, he explicates his own interpretation. He critically examines the viewpoint that society is becoming more secular, and that religion is declining. He observes that this theory stands in the way of persuading sociologists that religion is still worth studying. In contrast, Greeley is interested in why religions persist despite secular trends and alongside them. He argues that it is poetic elements that touch the human soul. Greeley then sets out to test this viewpoint.Greeley maintains that his theory is not the only, or necessarily even the best approach to study religion. Rather, it is his contention that it uniquely provides sociologists with perspectives on religion that other theories too often overlook or disregard. Religion as Poetry, an original and intriguing study by a distinguished social scientist and major novelist, will be enjoyed and evaluated by sociologists, ' theologians, and philosophers alike.

A fresh, provocative look at the link between poetry and Christianity, both as it relates to the Bible itself as well as to Christian and religious life, by an accomplished scholar. The Bible is full of poems. In the Old Testament, there are the Psalms and the Song of Songs, the great exhortations and lamentations of the Prophets, and passages of poetry woven in throughout. In the New Testament, Jesus describes the kingdom of heaven with poetic epithets such as “a treasure hid in a field,” calling the Son of God “the true vine,” “the light of the world,” “the good shepherd,” and “the way, the truth, and the life.” The Gospels reverberate with allusions to the poetry of the Old Testament; the last book of all is Revelation, a visionary poem. The Bible, in other words, asks to be read poetically from start to end, and yet readers have rarely considered what that might mean, much less heeded that call. In The Bible and Poetry, the poet and scholar Michael Edwards reshapes our understanding of the Bible and religious belief, arguing that poetry is not an ornamental or accidental feature but is central to both. He speaks personally of his early, unanticipated, transformative encounters with scripture. He offers close, insightful, and resonant readings of biblical passages. Poetry, as he sees it, is the vital and necessary medium of the Creator’s word, and the truth of the Bible is not a question of precepts and propositions but of a direct experience of its poetry, its power.

Victorian women poets lived in a time when religion was a vital aspect of their identities. Cynthia Scheinberg examines Anglo-Jewish (Grace Aguilar and Amy Levy) and Christian (Elizabeth Barrett Browning and Christina Rossetti) women poets, and argues that there are important connections between the discourses of nineteenth-century poetry, gender and religious identity. Further, Scheinberg argues that Jewish and Christian women poets had a special interest in Jewish discourse; calling on images from Judaism and the Hebrew Scriptures, their poetry created complex arguments about the relationships between Jewish and female artistic identity. She suggests that Jewish and Christian women used poetry as a site for creative and original theological interpretation, and that they entered into dialogue through their poetry about their own and each other's religious and artistic identities. This book's interdisciplinary methodology calls on poetics, religious studies, feminist literary criticism, and little read Anglo-Jewish primary sources.

Faith, Hope and Poetry explores the poetic imagination as a way of knowing; a way of seeing reality more clearly. Presenting a series of critical appreciations of English poetry from Anglo-Saxon times to the present day, Malcolm Guite applies the insights of poetry to contemporary issues and the contribution poetry can make to our religious knowing and the way we 'do Theology'. Readers of this book will return to their reading of poetry equipped with new insights and enthusiasm and will be challenged to integrate imaginative ways of knowing into their other academic and intellectual pursuits.