St. Augustine and the Problem of Evil from a Christian Basis

St. Augustine and the Problem of Evil from a Christian Basis In his Confessions, St. Augustine writes about a large number of topics that continue to have relevance today. The text documents the development of Augustine’s faith and his Christian philosophy, and one thing of particular interest is his argument for the nature of evil. Christianity predicates several important ideas that Augustine builds upon in his philosophy, and within its context, he presents a thorough, compelling argument against the problem of evil that identifies evil as a misperception. Augustine first characterizes God based on how he experiences God’s presence and qualities. Augustine searches for Him unsuccessfully in the†¦show more content†¦Love knows it. Eternal truth and true love and beloved eternity: you are my God.† (Augustine, 123) Augustine states that God is the truth and that he who does not know God therefore does not know the truth. God’s goodness is additionally characterized by eternity, eternal truth, and true love. If God is eternal truth, then his true love must also be eternal because of the eternal nature inherent to its trueness. Taken together, the three qualities of God that Augustine explicitly states above are each eternal as expected. If they are eternal, then they are also by definition infinite, meaning that God’s goodness is infinite because it is defined by His truth and love. God created everything, including man in His likeness, and God is supremely good as discussed by Augustine and in The Bible. Thus, everything, which He created, must also be good but of a degree lesser than His own because it is not God. The fact that goodness is measured on an infinite scale is important because it means that something, which is good by nature of its creation, will always have some degree of goodness. Based on God’s qualities and those of His creations, Augustine classifies two states of existence. The first is the state that God exists in, which Augustine calls ‘Being,’ and the second, for all things that He creates, is being. Just as God transcends his creations, so does his state of BeingShow MoreRelatedSt. Augustine s Life1594 Words   |  7 PagesSt. Augustine was born in Taagaste, Roman North Africa on November 13, 354 AD and was given the name Aurelius by his parents Patricius and Monica Augustine. At the time of his birth, his father was still a pagan, but his mother eventually converted him to Christianity (Chadwick 6). Aurelius was raised receiving a Christian education and from a very young age, he had a great respect for the religion. He learned to make the Sign of the Cross and certain ideas about the faith he kept very dear to hisRead MoreAugustine s Confessions And St. Paul Essay1979 Words   |  8 PagesConfessions and St. Paulà ¢â‚¬â„¢s First Letter to the Corinthians, both authors discuss the relationship between fleshy temptation and the purity of the spirit. The Confessions is Augustine’s writes of his extensive search for truth and conversion to Christianity, as he struggles against fleshy temptations and his soul to find rest in God. Augustine’s writes of a constant struggle to reconcile between the dualistic notion of the flesh and spirit with a nuanced understanding of flesh. On the other hand, St. Paul’sRead MoreOriginal Sin1617 Words   |  7 PagesDoctrines are used as a foundation to Christian beliefs. They serve to many churches as fundamentals in the direction their members chose to live their lives. It is important to understand the historical backgrounds of the doctrines that pertain to ones particular beliefs. I will be discussing this very information for the doctrine of original sin. The doctrine of original sin mostly pertains to the Roman Catholic religion. I will be covering when, where, and why the doctrine was originated. OriginalRead MoreEssay on Original sin1612 Words   |  7 Pages nbsp;nbsp;nbsp;nbsp;nbsp;Doctrines are used as a foundation to Christian beliefs. They serve to many churches as fundamentals in the direction their members chose to live their lives. It is important to understand the historical backgrounds of the doctrines that pertain to one’s particular beliefs. I will be discussing this very information for the doctrine of original sin. The doctrine of original sin mostly pertains to the Roman Catholic religion. I will be covering when, where, and why theRead MoreOntology of Man, Seen by Different Philosophers1565 Words   |  7 PagesThe philosophy of man is an intricate and multidimensional system involving complex problems rationalized by theoretical ideals. In writing the Oration on the Dignity of Man, Giovanni Pico della Mirandola approaches this study universally, wherein, humanism and the worth and dignity of the populace is affirmed. 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There shouldRead MoreThe Traditional and Modern Theories of Theodicy: An Analysis2725 Words   |  11 Pagesï » ¿The role of art, when delving into human suffering and matters of good and evil, ought to be that of a delivering agent, designed to extract a form of universal truth from the very consciousness of the observer, and act as mirror for humanitys dual reality. The present paper aims to analyze the traditional and modern theories of theodicy in relation to literature, insofar as literary works such as Vladimir Nabokovs Lolita or Fyodor Dostoy evskys The Brothers Karamazov owe their widely acknowledgedRead MoreFreedom and Determinism Essay2348 Words   |  10 Pagescompletely undetermined choice between alternatives was introduced. However, it is unclear how to reconcile contemporary science that acknowledges the influence of external forces and unconscious action with free will. 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Business Operations And Development Human Resource...

BUSINESS OPERATIONS AND DEVELOPMENT HUMAN RESOURCE MANAGEMENT July 11 2015 MANAGE HUMAN RESOURCE AS A MANAGER IN A BUSINESS OPERATION. Unit standard 19022 LEVEL - 6 Version - 3 Credits - 12 Submitted by - Ramanpreet Singh Student ID - ND 15402 Outcome 1: Establish human resource requirements for a business operation a) Taking into account the sudden drop in students from one of NZAB main markets India, provide an outline for the most favorable or desirable organizational structure for NZAB new current situation. The new organizational structure should be outlined in terms of the functions and activities of the business operation. b) Use a diagram to support your explanation of the outline. ïÆ'Ëœ Managing Director: In NZAB managing director is the person who is responsible for all the strategies of the board of NZAB. Responsibilities of managing director are :- †¢ Direct and control the work and resources of NZAB. †¢ To provide strategic advice and guidance to the chairman or executive director. ïÆ'Ëœ Executive Director: The role of executive director in NZAB is that the person who is executive director he/she is specified person for decision making for all the marketing operations working under executive director. ïÆ'Ëœ Academic Director: Academic director is the specified programmer leader of NZAB. Who is recruiting staff for the appropriate department. 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The Influence of the Renaissance on English Literature Free Essays

string(91) " but it was written in Latin \(1516\) and only later \(1555\) was translated into English\." Introduction: It is difficult to date or define the Renaissance. Etymologically the term, which was first used in England only as late as the nineteenth century, means’ â€Å"re-birth†. Broadly speaking, the Renaissance implies that re-awakening of learning which came to Europe in the fourteenth and fifteenth centuries. We will write a custom essay sample on The Influence of the Renaissance on English Literature or any similar topic only for you Order Now The Renaissance was not only an English but a European phenomenon; and basically considered, it signalised a thorough substitution of the medieval habits of thought by new attitudes. The dawn of the Renaissance came first to Italy and a little later to France. To England it came much later, roughly about the beginning of the sixteenth century. As we have said at the outset, it is difficult to date the Renaissance; however, it may be mentioned that in Italy the impact of Greek learning was first felt when after the Turkish conquest of Constantinople the Greek scholars fled and took refuge in Italy carrying with them a vast treasure of ancient Greek literature in manuscript. The study of this literature fired the soul and imagination of the Italy of that time and created a new kind of intellectual and aesthetic culture quite different from that of the Middle Ages. The light of the Renaissance came very slowly to the isolated island of England, so that when it did come in all its brilliance in the sixteenth century, the Renaissance in Italy had already become a spent force. It is difficult to define the Renaissance, but its broad implications in England do not defy discussion. Michelet exaggeratedly calls the Renaissance â€Å"discovery by mankind of himself and of the world. This is, indeed, too sweeping. More correctly we can say that the following are the implications of the Renaissance in England : (a) First, the Renaissance meant the death of mediaeval scholasticism which had for long been keeping human thought in bondage. The schoolmen got themselves entangled in useless controversies and tried to apply the principles of Aristotelean . philosophy t o the doctrines of Christianity, thus giving birth to a vast literature characterised by polemics, casuistry, and sophistry which did not advance man in any way. b) Secondly, it signalised a revolt against spiritual authority-the authority of the Pope. The Reformation, though not part of the revival of learning, was yet a companion movement in England. This defiance of spiritual authority went hand in hand with that of intellectual authority. Renaissance intellectuals distinguished themselves by their flagrant anti-authoritarianism. (c) Thirdly, the Renaissance implied a greater perception of beauty and polish in the Greek and Latin scholars. This beauty and this polish were sought by Renaissance men of letters to be incorporated in their native literature. Further, it meant the birth of a kind of imitative tendency implied in the term â€Å"classicism. † (d) Lastly, the Renaissance marked a change from the theocentric to the homocentric conception of the universe. Human life, pursuits, and even body came to be glorified. â€Å"Human life†, as G. H. Mair observes, â€Å"which the mediaeval Church had taught them [the people] to regard but as a threshold and stepping-stone to eternity, acquired suddenly a new momentousness and value. . The â€Å"otherworldliness† gave place to â€Å"this-worldliness†. Human values came to be recognised as permanent values, and they were sought to be enriched and illumined by the heritage of antiquity. This bred a new kind of paganism and marked the rise of humanism as also, by implication, materialism. Let us now consider the impact of the Renaissance on the va rious departments of English literature. Non-creative Literature: Naturally enough, the first impact of the Renaissance in England was registered by the universities, being the repositories of all learning. Some English scholars, becoming aware of the revival of learning in Italy, went to that country to benefit by it and to examine personally the manuscripts brought there by the fleeing Greek scholars of Constantinople. Prominent among these scholars were William Grocyn (14467-1519), Thomas Linacre (1460-1524), and John Colet (14677-1519). After returning from Italy they organised the teaching of Greek in Oxford. They were such learned and reputed scholars of Greek that Erasmus came all the way from Holland to learn Greek from them. Apart from scholars, the impact of the Renaissance is also; in a measure, to be seen on the work of the educationists of the age. Sir Thomas Elyot (14907-1546) wrote the Governour (1531) which is a treatise on moral philosophy modelled on Italian works and full of the spirit of Roman antiquity. Other educationists were Sir John Cheke (1514-57), Sir Thomas Wilson (1525-81), and Sir Roger Ascham (1515-68). Out of all the educationists the last named is the most important, on account of his Scholemaster published two years after his death. Therein he puts forward his views on the teaching of the classics. His own style is too obviously based upon the ancient Roman writers. â€Å"By turns†, remarks Legouis, â€Å"he imitates Cicero’s periods and Seneca’s nervous conciseness†. In addition to these well-known educationists must be mentioned the sizable number of now obscure ones—†those many unacknowledged, unknown guides who, in school and University, were teaching men to admire and imitate the masterpieces of antiquity† (Legouis). Prose: The most important prose writers who exhibit well the influence of the Renaissance on English prose are Erasmus, Sir Thomas More, Lyly, and Sidney. The first named was a Dutchman who, as we have already said, came to Oxford to learn Greek. His chief work was The Praise of Folly which is the English translation of his most important work-written in England. It is, according to Tucker Brook, â€Å"the best expression in literature of the attack that the Oxford reformers were making upon the medieval system. † Erasmus wrote this work in 1510 at the house of his friend Sir Thomas More who was executed at the bidding of Henry VIII for his refusal to give up his allegiance to the ‘ Pope. More’s famous prose romance Utopia was, in the words of Legouis, â€Å"true prologue to the Renaissance. † It was the first book written by an Englishman which achieved European fame; but it was written in Latin (1516) and only later (1555) was translated into English. You read "The Influence of the Renaissance on English Literature" in category "Papers" Curiously enough, the next work by an English man again to acquire Euro pean fame-Bacon’s Novum Organwn-was also written originally in Latin. The word â€Å"Utopia† is from Greek â€Å"ou topos† meaning â€Å"no place†. More’s Utopia is an imaginary island which is the habitat of an ideal republic. By the picture of the ideal state is implied a kind of social criticism of contemporary England. More’s indebtedness to Plato’s Republic is quite obvious. However, More seems also to be indebted to the then recent discoveries of the explorers and navigators-like Columbus and Vasco da Gama who were mostly of Spanish and Portuguese nationalities. In Utopia, More discredits mediaevalism in all its implications and exalts the ancient Greek culture. Legouis observes about this work : â€Å"The Utopians are in revolt against the spirit of chivalry : they hate warfare and despise soldiers. Communism is the law of the land; all are workers for only a limited number of hours. Life should be pleasant for all; asceticism is condemned. More relies on the goodness of human nature, and intones a hymn to the glory of the senses which reveal nature’s wonders. In Utopia all religions are authorized, and tolerance is the law. Scholasticism is scoffed at, and Greek philosophy preferred to that of Rome. From one end to the other of the book More reverses medieval beliefs. † More’s Utopia created a new genre in which can be classed such works as Bacon’s The New Atlantis (1626), Samuel Butler’s Erewhon (1872), W. H. Mallock’s The New Republic (1877), Richard Jefferies’ After London (1885), W. H. Hudson’s The Crystal Age (1887), William Morris† News from Nowhere, and H. G. Well’s A Modern Utopia (1905). Passing on to the prose writers of the Elizabethan age-the age of the flowering of the Renaissance-we find them markedly influenced both in their style and thought-content by the revival of the antique classical learning. Sidney in Arcadia, Lyly in Euphues, and Hooker in The Laws of Ecclesiastical Polity write an English which is away from the language of common speech, and is either too heavily laden—as in the case of Sidney and Lyly-with bits of classical finery, or modelled on Latin syntax, as in the case of Hooker. Cicero ? eemed to these writers a verv obvious and respectable model. Bacon, however, in his sententiousness and cogency comes near Tacitus and turns away from the prolixity, diffuseness, and ornamentation associated with Ciceronian prose. Further, in his own career and his Essays, Bacon stands as a representative of the materialistic, Machiavellian facet of the Renaissance, particularly of Renaissance Italy. He combines in himself the dispassionate pursuit of truth and the keen desire for material advance. Poetry: Sir Thomas Wyatt (1503-42) and the Earl of Surrey (15177-47) were pioneers of the new poetry in England. After Chaucer the spirit of English poetry had slumbered for upward of a century. The change in pronunciation in the fifteenth century had created a lot of confusion in prosody which in the practice of such important poets as Lydgate and Skelton had been reduced to a mockery. â€Å"The revival†, as Legoius says, â€Å"was an uphill task; verse had to be drawn from the languor to which it had sunk in Stephen Hawes, and from the disorder in which a Skelton had plunged it; all had to e done anew†. It was Wyatt and Surrey who came forward to do it. As Mair puts it, it is with â€Å"these two courtiers that the modern English poetry begins. † Though they wrote much earlier, it was only in 1557, a year before Elizabeth’s coronation, that their work was published in Tottel’s Miscellany which is, according to G. H. Mair, â€Å"one of the landmarks of En glish literature. † Of the two, Wyatt had travelled extensively in Italy and France and had come under the spell of Italian Renaissance. It must be remembered that the work of Wyatt and Surrey does not reflect the impact of the Rome of antiquity alone,. but also that of modern Italy. So far as versification is concerned, Wyatt and Surrey imported into England various new Italian metrical patterns. Moreover, they gave English poetry a new sense of grace, dignity, delicacy, and harmony which was found by them lacking iil the works of Chaucer and the Chaucerians alike. Further, they Were highly influenced by the love poetry of Petrarch and they did their best to imitate it. Petrarch’s love poetry is of the courtly kind, in which the pining lover is shown as a â€Å"servant† of his mistress with his heart tempest-tossed by her neglect and his mood varying according to her absence or presence. There is much of idealism, if not downright artificiality, in this kind of love poetry. It goes to the credit of Wyatt to have introduced the sonnet into English literature, and of Surrey to have first written blank verse. Both the sonnet and blank verse were later to be practised by a vast number of the best English poets. According to David Daiches. Wyatt’s sonnets represent one of the most interesting movements toward metrical discipline to be found in English literary history. † Though in his sonnets he did not employ regular iambic pentameters yet he created a sense of discipline among the poets of his times who had forgotten the lesson and example of Chaucer and, like Skelton, were writing â€Å"ragged† and â€Å"jagged† lines which jarred so unpleasantly upon the ear. As Tillyard puts it, Wyatt â€Å"let the Renaissance into English verse† by importing Italian and French patterns of sentiment as well as versification. He wrote in all thirty-two sonnets out of which seventeen are adaptations of Petrarch. Most of them (twenty-eight) have the rhyme-scheme of Petarch’s sonnets; that is, each has the octave a bbaabba and twenty-six out of these twenty-eight have the c d d c e e sestet. Only in the last three he comes near what is called the Shakespearean formula, that is, three quatrains and a couplet. In the thirtieth sonnet he exactly produced it; this sonnet rhymes a b a b, a b a b, a b a b, c c. Surrey wrote about fifteen or sixteen sonnets out of which ten use the Shakespearean formula which was. to enjoy the greatest popularity among the sonneteers of the sixteenth century. Surrey’s work is characterised by . exquisite grace and tenderness which we find missing from that of Wyatt. Moreover, he is a better craftsman and gives greater harmony to his poetry. Surrey employed blank verse in his translation of the fourth book of The Aeneid, the work which was first translated into English verse by Gavin Douglas a generation earlier, but in heroic couplets. Drama: The revival of ancient classical learning scored its first clear impact on English drama in the middle of the sixteenth century. Previous to this impact there had been a pretty vigorous native tradition of drama, particularly comedy. This tradition had its origin in the liturgical drama and had progressed through the miracle and the mystery, and later the morality, to the interlude. John Heywood had written quite a few vigorous interludes, but they were altogether different in tone, spirit, and purpose from the Greek and Roman drama of antiquity. The first English regular tragedy Gorboduc (written by Sackville and Norton, and first acted in 1562) and comedy Ralph Roister Doister (written about 1550 by Nicholas Udall) were very much imitations of classical tragedy and comedy. It is interesting to note that English dramatists came not under the spell of the ancient Greek dramatists â€Å"(Aeschylus, Sophocles, and Euripides, the tragedy writers, and Aristophanes, the comedy writer) but the Roman dramatists (Seneca, the tragedy writer, and Plautus and. Terence! the comedv writers). It was indeed unfortunate, as Greek drama is vastly superior to Roman drama. Gpfboduc is a s’avish imitation of Senecan tragedy and has all its features without much of its life. Like Senecan tragedy it has revenge as the tragic —otive, has most of its important incidents (mostly murders) narrated on the -stage by messengers, has much of rhetoric and verbose declamation, has a ghost among its dramatis personae, and so forth. ‘. â€Å". is indeed a good instance of the â€Å"blood and thunder† kind’ of tragedy. Ralph Roister Doister is modelled upon Plautus and Terence. It is based on the stupid endeavours of the hero for winning the love of a married woman. There is the cunning, merry slave-Matthew Merrygreek-a descendant of the Plautine slave who serves as the motive power which keeps the play going. Later on, the â€Å"University Wits† struck a note of independence in their dramatic work. They refused to copy Roman drama as slavishly as the writers of Gorboduc and Roister Doister. Even so, their plays are not free from the impact of the Renaissance; rather they show it as amply, though not in the same way. In their imagination they were all fired by the new literature which showed them new dimensions of human capability. They were humanists through and through. All of them—Lyly, Greene, Peele, Nashe, Lodge, Marlowe, and Kyd-show in their dramatic work not, of course, a slavish tendency to ape the ancients but a chemical action of Renaissance learning on the native genius fired by the enthusiasm of discovery and aspiration so typical of the Elizabethan age. In this respect Marlowe stands in the fore-front of the University Wits. Rightly has he been called â€Å"the true child of the Renaissance†. How to cite The Influence of the Renaissance on English Literature, Papers

The clinical management of bipolar disorder - Myassignmenthelp.Com

Question: Discuss about The clinical management of bipolar disorder. Answer: Upon the assessment of the complications affecting John Thompson post BPAD treatment with Sodium Valproate, it was acknowledged that by addressing the most critical problem, Johns recovery would be increasingly shortened. The main problem for John is the worsening mood he developed and increased symptoms over the last 3 weeks. Johns behavior has become erratic over the previous two weeks. Johns condition has worsened to a level that he disappeared and exhausted family bank account by investing a hoax property deal overseas. There is a link between the post-BPAD Sodium Valproate treatment and the johns recovery time, which further contributes to additional commodities including quality of life, mood, and depression (Connolly Thase, 2011). The focus of this clinical questions, therefore, is to determine what is known about the effect of post-Sodium Valproate treatment on BPAD recovery time for the BPAD treatment and ongoing case management. Thus, using the PICO (T) approach for the de velopment of a focused, answerable question with appropriate keywords, the following question was effectively formulated. References Connolly, K. R., Thase, M. E. (2011). The clinical management of bipolar disorder: a review of evidence-based guidelines.The primary care companion for CNS disorders,13(4).