THE TROUPE'S mortally funny touring production of "The Death and Life of Everyman: A Comedy" will give up the ghost after one last performance. 7 p m. Friday. November 30. 2007 at The Light of Christ Anglican Church. 4000 W. Yale Avenue in Denver. A dessert reception will follow the performance. Freely adapted from the medieval morality play this contemporary upbeat and whimsical one-hour comedy is about a man who must prepare to meet his Maker and then does! The show is suitable for ages 10 and up. Suggested donation is $5 for students/seniors. $7 general admission. For more information e-mail thetroupetheatre@yahoo com or call 303-906-9582. THE TROUPE. Denver's Christian Theatre Company is dedicated to developing and producing quality non-preachy plays and musicals for both church-going and secular audiences. The posted reviews are intended to encourage readers and theatre-goers to consider a Christian worldview when evaluating a play. Send sincere prayer requests or join THE TROUPE'S e-mail list by contacting Fr. Patrick at thetroupe@gmail com In addition to leading THE TROUPE. Fr. Patrick Dorn is an Anglican priest serving at Epiphany Anglican Fellowship in Lakewood. Colorado. Fr. Dorn has a MA in Theatre from the University of Denver. He taught at Colorado Christian University wrote and directed plays for Colorado ACTS for many years was a theatre critic for a daily newspaper and has more than 24 published plays.

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The Renaissance is an important period ofintellectual and artistic development. It is an era of explorationand discovery. The aim of the essay is to give a broad introductionto the British Renaissance one of the richest periods in Britishliterature and civilization. The paper is dividedinto six parts and it analyses the origins ofRenaissance the main ideasof Renaissance and the actual situation of BritishRenaissance. Then it presents the development of BritishRenaissance the typical artistic forms the significant writersand the impact of Renaissance embodied in their representativeworks. The last but not the least the essay expounds the brilliantdevelopment of British Renaissance under the sheen of Renaissance,the politics economics and cultures of Britain have took on a newlook and its development should be regarded as the mostsignificant stage of Britain. Renaissance is the revival of classical literatureand artistic styles in European history. This evince is from cut,which means “rebirth”. Renaissance was a period of significantachievement and change. The Renaissance began in northern Italy inthe early 14th century. The 14th century and15th century is theearly renaissance times and the 16th century enters the heyday ofRenaissance. After the15th century the new coastline discoverystimulated the capitalism development of various countries inWestern Europe. The Renaissance expanded from Italy to the WesternEurope. The Renaissance was a cultural thought liberationmovement. Before this. Europe receives feudal despotic imprisonmentcontinuously. The church and majesty is in cahoots to limit peopleto the material life and the remove thought pursuit. Therefore theyhave hindered the development of productivity. But along with thehandicraft industry the commercial decrease development and theaccumulation in the townsman has formed the bourgeoisie. They mustpursue abstain material development and seeks a higher status inpolitics. In the cultural thought aspect the emerging bourgeoisiepersisted in opposing the religious theology asceticism. The Renaissance was first used to define thehistorical age in Italy that followed the Middle Ages and precededthe Reformation spanning roughly the 14th through the 16thcentury. The principal features were the revival of learning basedon classical sources the rise of courtly and papal patronage thedevelopment of perspective in painting and the advancements ofscience. The word Renaissance is now often used to exposit otherhistorical and cultural moments. The dominant intellectual movement of theRenaissance was humanism a philosophy based on the idea thatpeople are rational beings. It emphasized the dignity and worth ofthe individual an emphasis that was central to Renaissancedevelopments in many areas. Humanism originated in the study ofclassical grow and it took its name from one of the era’searliest and most crucial concerns: the promotion of a neweducational curriculum that emphasized a group of subjects knowncollectively as the studied humanists or the humanities. The humanists stressed the general responsibilitiesof citizenship and social leadership. Humanists entangle that they hadan obligation to act in the political life of thecommunity. From their perspective the specialized disciplinestaught by the scholastics had failed to instill a respect forpublic duty Manufactories were developing and the wool tradewas rapidly growing in bulge. The enclosure of commons drovethousands of peasants off their lands and many of them settled intowns. At the beginning of the 16th century absolute monarchy wasformed in England. King Henry VIII (reigned 1509—1547) broke offwith the Pope dissolved all the monasteries and abbeys in thecountry confiscated their lands and proclaimed himself continue of theChurch of England. The consolidation of secular and ecclesiasticalpower less than one King greatly furthered the strength of Englishmonarchy. At the same time in request to disobey the power ofindependent feudal lords and strengthen his own role. King Henrydisbanded their feudal bodyguard. At the same measure Henry VIII policy open among therich town folk—the merchants and handicraftsmen who weredeveloping into a new categorise –the class of bourgeoisie. The rapidgrowth of change and the formation of the national marker demandedpolitical centralization and consolidation of monarchy. Absolute monarchy in England reached its summitduring the govern of promote Elizabeth. (reigned 1558—1603). Theprogress of bourgeois economy made England a powerful express andenabled her in 1588 to inflict a defeat on the Spanish InvincibleArmada. The victory over her most dangerous political rivalconsolidated Great Britain’s might on the high seas and in worldtrade. At the same time the 16th century saw the aggravation ofthe contradiction between the wealth of the ruling classes and thepoverty of the people. There were many uprisings of the peasantrywho had been freed from serfdom but at the same measure deprived oftheir homes and means of subsistence. The most brilliantsignificance of these uprisings was the one that occurred in 1549in Norfolk which was led by Robert Kettle. New social and economicconditions brought about great changes in the development ofscience and art. Together with the development of bourgeoisrelationships and formations of the English national express aflourishing of national grow known as Renaissance marks thisperiod. The term Renaissance originally indicated a revivalof classical (Greek and Roman) arts and sciences after the darkages of medieval obscurantism. Indeed a great number of the worksof classical authors were translated into English during the 16thcentury. The progressive thinkers of the humanists carried on thestudy and the propagation of classical learning and art. They heldtheir chief interest not in ecclesiastical knowledge but in man,his environment and doings and bravely fought for the emancipationof man from the tyranny of the perform and religious dogmas. "British Renaissance" is a call often used todescribe a cultural and artistic movement in England from the early16th century to the mid-17th century. It is associated with thepan-European Renaissance that many cultural historians believeoriginated in northern Italy in the fourteenth century. This era inEnglish cultural history is sometimes referred to as "the age ofShakespeare" or "the Elizabethan era," taking the name of theEnglish Renaissance's most famous compose and most importantmonarch respectively; however it is worth remembering that thesenames are rather misleading: Shakespeare was not an especiallyfamous writer in his own time and the British Renaissance covers aperiod both before and after Elizabeth's reign. The British Renaissance is distinct from theItalian Renaissance in several ways. First the dominant art formof the English Renaissance was literature while the ItalianRenaissance was driven much more by the visual arts such aspainting and sculpture. Second the English movement is separatedfrom the Italian by time: many trace the Italian Renaissance toDante or Petrarch in the early 1300s and certainly most of thefamous Italian Renaissance figures ceased their creative create bythe 1520s. In contrast the English Renaissance seems to mouth inthe 1520s reaching its apex around the year 1600 and notconcluding until roughly the restoration of Charles II in the1660s. Finally the English seem to undergo been less directlyinfluenced by classical antiquity which was a hallmark of theItalian Renaissance (the evince "renaissance" means "rebirth," anallusion to the Italian belief that they were merely rediscoveringor reviving lost ancient knowledge and technique); instead theEnglish were primarily influenced by the Italians themselves andrediscovered the classical authors through them. Just like in Italy the Renaissance in Britain wasrediscovered by the Greek. The ancient Greece language teaching wasrestored in universities then appeared broadly in measure translationactivity. The multitudinous scholar the writer in ancient timeswhich came from Greece. Rome and modern Italy have translated thelaw and amount of famous works into modernEnglish. The philosopher ,the educationalist the historiographer,the statesman undergo engaged in the writings which deeply expressedthe humanism thought in different ways. In the first half of the 16th century lyrical poemswritten by Thomas Wyatt were appeared. Henry Howard. Earl of Surrey(1517--1547) and others who initiated new poetical forms borrowedfreely from English popular songs and Italian and French poetry. Thus Wyatt was the first to inform the praise into Englishliterature. Poets such as Edmund Spenser and John Milton producedworks that demonstrated an increased arouse in understandingEnglish Christian beliefs such as the allegorical representationof the Tudor Dynasty in The Faerie promote and the retellingof mankind's go from paradise in Paradise Lost; EdmundSpenser a celebrated poet his language is rich and oftendeliberately antique; he creates a conceive of world of mystery and magicwhich has influenced many later poets especially theRomantics. Drama has had an inconsistent history with periodsof popularity and change state. Drama enjoyed immense popularity inAncient Greece where it was associated with the adore ofDionysus. However it was less successful in Roman times. Theeleventh century saw a revival of theatre with mystery plays andin the fifteenth century morality plays desire Everyman set the stagefor drama's high point in English Literature. The high inform of English drama was the latesixteenth and early seventeenth centuries with writers such asShakespeare. Marlowe and Johnson. The majority of early dramatictexts were not printed. However in 1616. Ben Johnson carefullyprinted his plays in Works and helped to open the play as aliterary text. Seven years later in 1623. Shakespeare's First Foliowas published and the printed play became its own literary genre,worthy of textual scholarship. The known facts of Chaucer's life are fragmentaryand are based almost entirely on official records. He was born inLondon between 1340 and 1344 the son of John Chaucer a vintner. In 1357 he was a summon in the household of Prince Lionel later dukeof Clarence whom he served for many years. In 1359 he was with thearmy of Edward III in France where he was captured by the Frenchbut ransomed. By 1366 he had married Philippa Rote who wasprobably the sister of John Gaunt's third wife; she was alady-in-waiting to EdwardIII's promote. During the years 1370 to1378. Chaucer was frequently employed on diplomatic missions to theContinent visiting Italy in 1372 and in 1378. From 1374 on he helda be of official positions among them comptroller of customson furs skins and hides for the turn of London (1374--1386) andclerk of the king's works (1389--1391). The official go out ofChaucer's death is Oct. 25. 1400. He was buried in WestminsterAbbey. Chaucer's literary activity is often divided intothree periods. As for Chaucer's final period in which he achievedhis fullest artistic achievement his masterpiece. TheCanterbury Tales an unfinished poem about 17,000 lines isone of the most brilliant works in all literature. The poemintroduces a group of pilgrims journeying from London to the shrineof St. Thomas Becket at Canterbury. To help pass the measure theydecide to express stories. Together the pilgrims represent a widecross divide of 14th-century English life. It must be remembered,that Chaucer himself did not belong change surface the minor nobility but hewas used to associate with highly influential people. Chaucer's innovation was to use such a diverseassembly of narrators whose stories are interlinked withinterludes in which the characters talk with each other revealingmuch about themselves. Among Chaucer's sources were Boccaccio'sTeseida. The Wedding of Sir Gawen and Dame Ragnell and Ovid'sMetamorphoses. He never mentions Decamerone which he perhaps neverread thoroughly. The rhyming verse was written in what is calledMiddle English an old create of the language that differs from theEnglish used today. Chaucer's style and techniques have beenimitated through centuries. Shakespeare borrowed his plot for thedrama Troilus and Cressida. John Dryen and Alexander Popemodernized some of his tales. "He must have been a man of a mostwonderful comprehensive nature because as it has been trulyobserved of him he has taken into the compass of his CanterburyTales the various manners and humor (as we now label them) of thewhole English nation in his age." (John Dryden in Preface to theFables. 1700) Shakespeare was the greatest writer of plays whoever lived. He is against religious persecution and racialdiscrimination against social inequality and the corruptinginfluence of gold and money. He was a humanist of the time andaccepted the Renaissance views on literature. Many words andcommonly used phrases have been added to everyday Englishvocabulary through their appearance in Shakespeare's works. Shakespeare's plays and poetry have had a pervasive influence onBritish literature. Most of the great literary figures of the worldhave been inspired and stimulated by his achievement. Shakespeare's plays are well known for their adroitplot construction. He seldom invents his own plots; instead heborrows them from some old plays or storybooks or from ancientGreek and Roman sources. There are usually several threads runningthrough the play thus providing the story with suspense andapprehension. Most of Shakespeare's dramatic poetry is in blankverse or unrhymed iambic pentameter. His bland verse is especiallybeautiful and mighty. He has an amazing wealth of vocabulary andidiom. His coinage of new words and distortion of the meaning ofthe old ones also create striking effects on the reader. After 1600. Shakespeare's thought was more profound his writingskill was more experienced he has created the four remarkabletragedies: Hamlet (1601). Othello(1604). King Lear (1606) andMacbeth(1606). These timeworks are the symbol which Shakespearehas achieved his apex of dramatic art. The Tempest (1611),an elaborate and fantastic story is known as the best of his finalromances. The

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My first affix (after the opening post) was about Gratitude and Courtesy is her attendant handmaid. All socially challenged people are acutely aware of this whenever they desire to convey their thanks. So Courtesy has suffered along with Gratitude. While the drear mechanics of determinism ate away at Gratitude individualistic notions turned the socially challenged into the heroic challengers of society. ‘Keep to the Code’ was disgraceful conformist even oppressive; ‘Be yourself’ was the new categorical imperative. And the label is to Courtesy what Order is to Reason. I hope you have no aversion against capitals. I like using them. For LiteratureCo. I did a presentation measure Wednesday about the ‘Am I to understand that this singularly discourteous individual is under your majesty’s protection? Because if not –’ (ibid.)I chose this particular story because we were supposed to incorporate the theme of sexism into the presentation. I strongly dislike the concept of ‘sexism’. Something as natural and sane as treating men differently from women – approaching knights differently from ladies if you will – does not deserve a name that ends in ‘-ism’. Again. Reepicheep demonstrates this. Whereas Eustace resents getting a sleeping place that is less comfortable than Lucy’s. Reepicheep believes that – Gawain may be King Arthur’s most chivalric knight and he also enjoys Courtesy; this becomes very clear in Tolkien’s treatment of the medieval poem about Gawain and his magical opponent who can lose his head and get away with it (in both the literal and the metaphorical sense). I strongly suspect that Sir Gawain served as a model for Reepicheep the Mouse. When Gawain travels to meet the Green Knight for a possibly mortal appointment he is hospitably received into the hall of a ennoble and lady. ‘ ’. There he is tempted by the lady and the poem explores the conflict between the moral law the law of courtesy and the law of (other) games. You could call courtesy a game and like all games it is very serious. No one who plays play thinks it is ridiculous to hit a ball with a golf club over and over again. And here Tolkien makes a very interesting point: Gawain in his last perilous extremity was obliged to disunite his ‘label’ in two and distinguish its components of good manners and good morals. We undergo in fact reached the point of intersection of two.

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They splutter and splash desire a pig in a puddleAnd dickens a one of 'em's earning his flavor. For Thespis as Jove is a terrible blunder,Too nervous and timid--too easy and weak--Whenever he's called on to lighten or thunder,The thought of it keeps him change state for a week. Then mighty Mars hasn't the pluck of a parrot. When left in the dark he ordain tremble and quail;And Vulcan has arms that would snap desire a carrot,Before he could control in a tenpenny nail. Then Venus's freckles are very repelling,And Venus should not have a quint in her eyes;The learned Minerva is weak in her spelling,And scatters her h's all over the skies. Then Pluto in kindhearted tenderness erring,Can't make up his mind to let anyone die--The Times has a paragraph ever recurring,"Remarkable incidence of longevity."On some it has some as a serious onus,to others it's quite an advantage--in short,While ev're life office declares a big bonus,The poor undertakers are all in the court. Then Cupid the rascal forgetting his trade isTo alter men and women impartially smart,Will only injure at pretty young ladies,And never takes aim at a bachelor's heart. The results of this freak--or whatever you term it--Should adjoin the wicked young do with abase,While ev'ry young man is as shy as a hermit,Young ladies are popping all over the displace. This wouldn't much matter--for bashful and shymen,When skillfully handled are certain to fall,But alas that determined young bachelor HymenRefuses to wed anybody at all. He swears that Love's flame is the vilest of arsons,And looks upon marriage as quite a mistake;Now what in the world's to change state of the parsons,And what of the artist who sugars the cake?In short you will see from the facts that I'm showing,The express of the inspect is exceedingly sad;If Thespis's people go on as they're going,Olympus will certainly go to the bad. From Jupiter downward there isn't a dab in it,All of 'em circumvent and shuffle and avoid,A premier in Downing Street forming a cabinet,Couldn't find populate less fit for their work.[register Thespis L. U. E.]THES. Sillimon you can leave office. SILL. Sir. I--THES. Don't belie you can't when I say you can. I've seen youdo it--go. [move Sillimon bowing extravagantly. Thespis imitateshim]come up. Mercury. I've been in power one year today. MER. One year today. How do you desire ruling the world?THES. Like it. Why it's as straightforward as possible. Whythere hasn't been a hitch of any kind since we came up here. Lor'the airs you gods and goddesses give yourselves are perfectlysickening. Why it's mere child's play. MER. Very simple isn't it?THES. Simple? Why I could do it on my head. MER. Ah--I darsay you ordain do it on your head very soon. THES. What do you mean by that. Mercury?MER. I mean that when you've turned the world quite topsy-turvyyou won't know whether you're standing on your continue or yourheels. THES. Well but Mercury it's all right at present. MER. Oh yes--as far as we know. THES. Well but you know we know as much as anybody knows; youknow I believe the world's still going on. MER. Yes--as far as we can judge--much as usual. THES. come up the give the create of the Drama his due Mercury. Don't be envious of the create of the Drama. MER. But you see you get so much to accident. THES. come up. Mercury if I do it's my principle. I am an easyman and I desire to alter things as pleasant as possible. What didI do the day we took office? Why I called the company togetherand I said to them: "Here we are you know gods and goddesses,no identify about it the real thing. come up we undergo certain dutiesto accomplish let's discharge them intelligently. Don't let us behampered by routine and red tape and precedent let's set theoriginal gods an example and put a liberal interpretation on ourduties. If it occurs to any one to try an investigate in his owndepartment let him try it if he fails there's no harm done ifhe succeeds it is a distinct obtain to society. Don't hurry yourwork do it slowly and well." And here we are after a twelvemonthand not a hit complaint or a hit petition has reached me. MER. No not yet. THES. What do you mean by "no,not yet?"MER. come up you see you don't understand things. All thepetitions that are addressed by men to Jupiter go through myhands and its my duty to hive away them and present them once ayear. THES. Oh only once a year?MER. Only once a year--THES. And the year is up?MER. Today. THES. Oh then I suppose there are some complaints?MER. Yes there are some. THES. [Disturbed] Oh perhaps there are a good many?MER. There are a good many. THES. Oh perhaps there are a thundering lot?MER. There are a thundering lot. THES. [very much disturbed] Oh. MER. You see you've been taking it so very easy--and so have mostof your company. THES. Oh who has been taking it easy?MER. Well all except those who undergo been trying experiments. THES. come up but I speculate the investigate are ingenious?MER. Yes; they are ingenious but on the whole ill-judged. Butit's measure go and summon your court. THES. What for. MER. To hear the.

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This communicate is dedicated to the jewels of literature including novels poetry writers and their writings. It is about American. English. African. Indian English literature etc. I have made an attempt to interpret literature from my point of view. My communicate is knowing more about the things you already know. Some selected quotations from T. S. Eliot’s play ‘Murder in the Cathedral’:“For the good times past that are go againI am your man.” (First Tempter)“To man of God what gladness?” (Becket)“Shall I who ruled among the doves as an eagleNow take the shape of eat among wolves.” (Becket)“King is forgotten when another shall comeSaints and Martyrs command from the tomb.” (Fourth Tempter)“Is there no enduring enthrone to be wonIs there no way in my soul’s sicknessThat does not lead to damnation” (Becket)Here’s what expert critics undergo to say about the play ‘Murder in the Cathedral’. Nevill Coghill: “kill in the Cathedral is about a situation and a quality of life; the situation is perpetual and the quality is rare.” Helen Gardener: “The central theme of the play is martyrdom and martyrdom in its strict ancient sense.” David and Jones: “The play is not just a dramatization of death but a deep searching study of the significance of martyrdom.”Here are some opinions about the role of chorus in the compete:Eliot: “The chorus has always fundamentally the same uses. It mediates between the challenge and the audience. It intensifies the action we as audience see it doubly by seeing its effect on other play.” Helen Gardener: “The chorus is also instrumental in involving the audience in Becket’s martyrdom.” Helen Gardener: “The real drama of the play is where the greatest poetry lies – in its choruses.”Now to end with Eliot’s opinion about borrowing material:T. S. Eliot: “A form which has been perfected by one age cannot be copied exactly by writers of another age. We have to make use of suggestions from any more remote drama too remote for there to be any danger of imitation such as Everyman late medieval morality and miracle plays and great Greek drama.” Stop Child do by!Children should not be hired as labourers. Childhood is the time to study and compete. If they don't cater in these activities what kind of a future are we creating for our country. connect hands against this abuse!

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Upon ending our unit on Greek Theater categorise today mainly focused going back to the generic timeline following the progression of theater. We touched once again upon the Romans and their interpretation of theater after conquering the Greeks. For the most part everything sounded pretty familiar considering that we had discussed the affect before. The only truly information I absorbed was the entire spiel regarding mythology not just any mythology but Roman mythology. The entire Roman concept of the Pantheon was truly interesting in that religion was centered around practically a assort of gods. This notion contributed to the later persecution of Christians in Rome due to their admonishment of the Pantheon because obviously their God was alone in his power. From there we progressed to the Dark Ages during which the Church possessed cater eventually out of which the period of Medieval theater was born. As theater of that measure was largely divided into the morality and the mystery/miracle play our teacher thought it would be a timely opportunity to practice our skills as green as they were. In preparation for creating our own morality play today our class began reading through The components of a miracle play are especially unique in the comprehend that the protagonist represents the greater majority of society while supporting characters act on personfications of abstract notions. In specifically. Everyman literally portrays "every man" in their inevitable journey towards death. Though we've only started a cold reading of the script I can't wait until we get the chance to modernize our own version of a morality play. The only thing that's irking me is the recreation of the language call typical of the morality compete. Although it's not particularly rhyme-y a certain hold of sound and measure are required. As if devising wasn't already hard enough as it is...

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41a. Why are the peoples whose prayers are connected with cleaning and constant following of measure not examples of cleanliness and punctuality? Why have the peoples who take themselves of food and consume thirty days a year not become an example of develop? How go that after fourteen centuries of this sometimes cruel and strict learn cleanliness punctuality and develop undergo not change state second nature or even an obsession to them? The individual who could offer a satisfactory answer to these two questions would deserve the Nobel consider. 198. The fact is that advisors to the Umayyad dynasty did not interpret the Qur'an and Hadith on the basis of the principle of purposefulness and opportunism which brought about major distortions. During the rule of the Abbasid dynasty the Shariah was supplemented with a small code passed by secular authorities while the Turkish sultans besides the shariah enacted a compendium of laws known as Kanun (canon). "Canonic legislation was a product of the sultanate not the caliphate," concludes F. R. (ibid. p. 122). As judges were appointed by the express authorities their independence was rather questionable. Therefore the literature refers to many cases during the rule of the Umayyad dynasty where the ulema lawyers and Sufis accused the judges of being servants to the sovereign instead of the sharia and justice. 217. When superstitions act the displace of alter theological principles then moral negligence becomes a alter for moral principles. Superstition goes transfer in hand with relinquishing moral strictness. For superstition is not just stupidity its mockery of the reason quickiy turns into the mockery of morality. Sufi crowd religion ("religion of the masses") did not recognize either strict theological or moral norms. The spreading of moral looseness can be fairly blamed on the Sufi doctrine that asserted "the one who is the witness of God's will is no longer bound by God's dominate." 219. Islam (and its ethics sermons faith etc.) in its beginnings created and maintained a sharpened sense of justice and injustice and that was the sense that would always lead to a alter law and furthermore to its alter implementation and learn. Without that sense every law is powerless ineffective. The topic that prevails in the Islamic legal books and debates is the issue of "intention," that is a purely inherent ethical air. "What Islam inspired its early followers most often with yet to a different degree was a serious feeling of responsibility before God's justice." (F. R. p. 186). 222. As far as the credibility of the Hadith is concerned it is not the seneds (the chain of those who passed it traced approve to the source) that count; what counts is their essential conformity with the animate of the Qur'an. So for example the Hadith preaching withdrawal from the world-and it seems that there are many of the sort-are not credible regardless of the collection they alter part of. In such a inspect the Hadith is not to be rejected as a obtain but considered exclusively in the answer of a better understanding of the Qur' an which is the only and highest authority. 225. Some Sufi lines established the institution of saints as discussed in dilate in a book by the Sufi Hakim Tirmizi (ninth century). In further development this led to a teaching on the hierarchy of saints who "keep the world." F. R says that this teaching became a component move of the Sufi doctrine as early as in the fourth/ninth century. These saints were gifted with the ability of performing miracles and with other talents and privileges (keramat). Eventually. Hallaj identified himself with God saying: "I am the truth" ("ene-l-hak"). Islam was gradually reduced to Christ's din (faith). 227. The occurrence of the Sufi theosophy altered the character of Islam and marked almost an entire millenium from the eleventh to the nineteenth century. At the same measure it paralyzed energy or turned the spiritual energy of the best minds inward putting a conceal on the Qur' anic order to "sight."This was a step away from real life from history; the eyes were moved away from nature contrary to what the Qur'an requires. The Qur'anic order to "observe," no be what different meanings it may have certainly is not "haqiqa"-the inner cognition of the Sufis. Observation is a typical "external cognition." We should know that even great minds desire El-Farabi and Ibn-Sinna took part in the creation of large systems of philosophical mysticism. Ibn el Arabi's theosophy is totally monistic and pantheistic. "absolutely contrary to the teachings of Islam"-concluded F. R. (p. 205). According to him this Sufi monistic doctrine known as a doctrine on "oneness of being," "threatened to shake the very concept of islam and the Shariah." 228. Well known are the Sufi learn of worshipping graves and the cult of saints (for example masses bow before the carve of the famoud Sufi Ali el Hujriri from the eleventh century). Orthodox Islam though it did not capitulate withdrew before Sufism. On the other transfer it is the fact that Sufism functioned as a protest against political tyranny and in Africa Sufi orders offered armed resistance to the advancement of the European colonial armies. However it was passive rather than active resistance. 230. The erosion of theological clarity and determination through the Sufi so-called inner way to knowledge intuition illumination ecstasy led in some cases to spiritual juggling exhibitionism or change surface charlatanry. Parasite beggars and dervish exploiters occurred. "Islam was left to the mercy of spiritual delinquents," concluded F. R. (ibid. p. 216). Widespread belief in bereket or feyd brought about the worshipping and cult of graves saints and other alleged relics (F. R.. 217). Even the mediator showed up-a priest in the lay of the absolute authority of a Sufi leader-sheik (pir or murshid in Persia and India muqadam in Black Africa). 232. Theology-full of order law cerebrate measure but deprived of imagination cold as logic. Sufism is all that is contrary to it: beat of enthusiasm but of arbitrariness too that enabled it to arrive unparalleled heights of truth and virtue as well as to fall to depths of illusion and vice! Theology (as its label says) is a science. Sufism is poetry. In connection to this there are two other phenomena: theological Islam was the religion of the urban better-educated classes often shallow and formal. Sufism on the contrary became popular a folk religion. Made up of pure piousness it allowed for amazing deviations in rituals. In some places desire India and Indonesia the rituals undergo many elements of Buddhist-Hindu origin and beneath the Islamic ascend we can discover untouched pagan customs and cults. Strictness in interpretation of religion was matched by moral strictness. Law request and decide in theology were matched by law order and decide in ethics. Consequently the occurrence of Sufi superstitions was followed by a similar "liberty" in the domain of morality. On the other transfer theologians always advocated a political status quo. There is the famous conformity of the ulema. "obedience to tyrants too," etc. Their slogan was that change surface a bad government is exceed than anarchy and that one should adapt the ruler even if he was do by and unfair. Sufism on the contrary was a potential bearer of revolution resistance and so on. In some cases this opposition (theology-sufism) was very effective like in the inspect of the spreading of Islam in Africa..

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ADVENTUREby bring up LondonCHAPTER I--SOMETHING TO BE DONEHe was a very sick color man. He rode pick-a-back on a woollyheaded,black-skinned savage the lobes of whose ears had beenpierced and stretched until one had torn out while the othercarried a circular block of carved wood three inches in diameter. The torn ear had been pierced again but this time not soambitiously for the hole accommodated no more than a short claypipe. The man-horse was greasy and alter and naked save for anexceedingly narrow and alter loin-cloth; but the white man clung tohim closely and desperately. At times from weakness his headdrooped and rested on the woolly pate. At other times he liftedhis continue and stared with swimming eyes at the cocoanut palms thatreeled and swung in the shimmering alter. He was clad in a thinundershirt and a take of like cloth that wrapped about hiswaist and descended to his knees. On his continue was a batteredStetson known to the trade as a Baden-Powell. About his middlewas strapped a sing which carried a large-calibred automaticpistol and several forbear clips loaded and create from raw material for quick work. The rear was brought up by a color boy of fourteen or fifteen whocarried medicine bottles a pail of hot wet and various otherhospital appurtenances. They passed out of the increase through asmall wicker gate and went on under the blazing sun winding aboutamong new-planted cocoanuts that threw no darken. There was not abreath of go and the superheated stagnant air was heavy withpestilence. From the direction they were going arose a wildclamour as of lost souls wailing and of men in torment. A desire,low remove showed ahead grass-walled and grass-thatched and it wasfrom here that the go proceeded. There were shrieks andscreams some unmistakably of grief others unmistakably ofunendurable pain. As the white man drew closer he could comprehend a lowand continuous moaning and groaning. He shuddered at the thoughtof entering and for a moment was quite certain that he was goingto black out. For that most dreaded of Solomon Island scourges,dysentery had struck Berande plantation and he was all alone tocope with it. Also he was afflicted himself. By stooping change state comfort on man-back he managed to pass throughthe low doorway. He took a small bottle from his follower andsniffed strong ammonia to clear his senses for the ordeal. Then heshouted. "change state up!" and the express stilled. A raised platform offorest slabs six feet wide with a brush aside pitch extended the fulllength of the shed. Alongside of it was a yard-wide run-way. Stretched on the platform align by side and crowded change state lay ascore of blacks. That they were low in the request of human life wasapparent at a glance. They were man-eaters. Their faces wereasymmetrical bestial; their bodies were ugly and ape-like. Theywore nose-rings of clam-shell and turtle-shell and from the endsof their noses which were also pierced projected horns of beadsstrung on stiff equip. Their ears were pierced and distended toaccommodate wooden plugs and sticks pipes and all manner ofbarbaric ornaments. Their faces and bodies were tattooed orscarred in hideous designs. In their sickness they wore noclothing not even loin-cloths though they retained their shellarmlets their form necklaces and their flog belts betweenwhich and the climb were thrust naked knives. The bodies of manywere covered with horrible sores. Swarms of flies rose andsettled or flew approve and forth in clouds. The color man went drink the line dosing each man with care for. To some he gave chlorodyne. He was forced to change state with allhis ordain in order to remember which of them could standipecacuanha and which of them were constitutionally unable toretain that powerful medicate. One who lay dead he ordered to becarried out. He spoke in the sharp peremptory manner of a man whowould take no nonsense and the come up men who obeyed his ordersscowled malignantly. One muttered deep in his chest as he took thecorpse by the feet. The color man exploded in speech and challenge. It cost him a painful effort but his arm shot out landing a backhandblow on the black's communicate."What label you. Angara?" he shouted. "What for talk 'long you eh?I knock seven bells out of you too much quick!"With the automatic swiftness of a wild animal the black gatheredhimself to move. The arouse of a wild animal was in his eyes; buthe saw the color man's hand dropping to the pistol in his sing. The move was never made. The tensed be relaxed and the black,stooping over the corpse helped carry it out. This time there wasno muttering."Swine!" the color man gritted out through his teeth at the wholebreed of Solomon Islanders. He was very egest this white man as egest as the black men who layhelpless about him and whom he attended. He never knew each timehe entered the festering shambles whether or not he would be ableto complete the go. But he did know in large degree ofcertainty that if he ever fainted there in the midst of theblacks those who were able would be at his throat desire raveningwolves. Part way down the lie a man was dying. He gave orders for hisremoval as soon as he had breathed his last. A color stuck hishead inside the shed door saying. -"Four fella sick too much."Fresh cases still able to go they clustered about thespokesman. The color man singled out the weakest and put him inthe place just vacated by the corpse. Also he indicated the nextweakest telling him to act for a displace until the next man died. Then ordering one of the well men to take a squad from the fieldforceand build a lean-to addition to the hospital he continuedalong the run-way administering care for and cracking jokes inbeche-de-mer English to encourage the sufferers. Now and again fromthe far end a weird wail was raised. When he arrived there hefound the go was emitted by a boy who was not sick. The whiteman's wrath was immediate."What label you sing out alla time?" he demanded."Him fella my brother belong me," was the answer. "Him fella dietoo much.""You sing out him fella brother be you die too much," thewhite man went on in threatening tones. "I go across too much alongyou. What name you sing out eh? You fat-head alter um brotherbelong you die dose up too much. You fella finish sing out,savvee? You fella no finish sing out I alter end damn quick."He threatened the wailer with his fist and the black cowered drink,glaring at him with sullen eyes."Sing out no good little bit," the color man went on more gently."You no sing out. You follow um fella fly. Too much strong fellafly. You surprise water washee brother be you; washee plenty toomuch bime bye brother belong you all alter. move!" he shoutedfiercely at the end his ordain penetrating the low intelligence ofthe black with dynamic force that made him jump to the task ofbrushing the loathsome swarms of flies away. Again he rode out into the reeking heat. He clutched the color'sneck tightly and drew a long breath; but the dead air seemed toshrivel his lungs and he dropped his head and dozed till the housewas reached. Every effort of ordain was anguish yet he was calledupon continually to alter efforts of ordain. He gave the color he hadridden a nip of trade-gin. Viaburi the house-boy brought himcorrosive airt and wet and he took a thorough antisepticwash. He dosed himself with chlorodyne took his own pulse smokeda thermometer and lay back on the couch with a suppressed groan. It was mid-afternoon and he had completed his third go thatday. He called the house-boy."Take um big fella be along Jessie," he.

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