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shenanigans-and-imagines · 4 years

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Nsfw alphabet (all of it) for Loki? Also, l love ur star wars ocs 💕

A = Aftercare (what they’re like after sex)

He praises you to high heaven after sex. His words come low and soft as he cleans up you telling you, in so many different way, how perfect you are. His silver tongue doesn’t stumble once.

B = Body part (their favorite body part of theirs and also their partner’s)

He loves your neck. It’s so easy to tease you with just a simple brush of his lips against that particular part of your skin. An open canvas for him bite and mark as he wishes. And it’s the perfect fit for his hand to squeeze as he fucks you.

As for himself, he likes his hands. He knows you appreciate the length and dexterity of his fingers. Not to mention it’s where most of his true power resides. They are magic hands, after all. ;)

C = Cum (anything to do with cum, basically)

He leaves such a mess when he cums. He loves cumming all over your skin; stomach, back, face, tits, it doesn’t matter. It’s his way of marking you. He’ll even take his fingers like a brush and paint it all over your body.

Even when he cums inside you, he still manages to leave his mark. He’ll spread you open, watching in fascination as a mix of your cum and his own drip down your inner thigh. He likes to take his fingers then, and spread is down your skin before licking it with his tongue. He’s a complete slut when it comes to cum.

D = Dirty secret (pretty self explanatory, a dirty secret of theirs)

He doesn’t have many to be honest. He’s very open about what he wants with you. After a thousands years or so, you learn that there’s no shame in sharing with someone you trust.

But, there have been a few instances he’s has to keep himself from moaning “mommy”. He’s not sure where it came from and that’s one kink he’s does not want to explore.

E = Experience (how experienced are they? do they know what they’re doing?)

Thor might be more bombastic, but Loki has perfected the art of whispering into an ear and making the hearer weak at the knees. So yes, he’s been around the block a few times with a variety of partners.

F = Favorite position (this goes without saying)

It really depends on his mood.

If he’s in a dominating mood then he loves taking you from behind, your back pressed against his chest and his hand clasped around your throat.

If he wants to be dominated, then please tie his wrists to the bedpost and ride his face. He wants your cum.

G = Goofy (are they more serious in the moment? are they humorous? etc.)

He runs the gambit from emotional and intense to a sexy, but fun romp in the hay. There are moments he can’t help, but make a joke or a smug comment at your expense. It keeps things unpredictable.

H = Hair (how well groomed are they? does the carpet match the drapes? etc.)

He actually keeps up a pretty close shaved down there. Not that there was much there in the first place. Perhaps the first hint he wasn’t Asgardian.

I = Intimacy (how are they during the moment? the romantic aspect)

As I said before, he runs a wide range of emotions when you’re fucking.

But, when he is in the mood or his emotions become too overwhelming, he can be extremely intimate. Sometimes it’s praises as he makes love to you, wondering how he could be so lucky. Other times it’s desperate and pleading, clinging to your body and begging you not to leave.

And then there are days he just wants to have a bit of fun.

You’re never too sure what you’re going to get on an given day.

J = Jack off (masturbation headcanon)

Not as often as you’d think. If he’s in the mood, he prides himself on being able to find a partner to satisfy him. Using his own hand feels childish and a little embarrassing. So, he won’t do it unless he’s really desperate.

K = Kink (one or more of their kinks)

God, it would be easy to lists the stuff he isn’t into.

First and foremost, he’s 110% a switch. Yes he’s got mad Big Dick Daddy Dom energy when he wants to and there are a number of fantasies he has that involve tying you up and using you as his personal fuck toy.

But if you’re telling me this same disaster theater nerd twink doesn’t also allow his partners to peg him on the reg, then you are dead wrong.

That all being said, I’d also like to add exhibitionism to the list. There are times you swear he wants to get caught when he fucks you against the bookshelves in the library, or in the gardens or even against the one of the pillars in the palace. If it weren’t for his illusions, you might have.

L = Location (favorite places to do the do)

The most common place is your bedroom. That’s where you can pull out all the stops and really take your time.

But as I said above, he does take a certain thrill out of almost being caught. If he were being honest, he’s say the library was near the top of his favorite places to fuck.

M = Motivation (what turns them on, gets them going)

Assertiveness is certainly top of the list. Knowing that you want him and no one else, combined with your confidence can lead him pleading at your feet.

Jealousy is also a motivator. If he sees another man trying to move in on you, that’s his cue to pull you into the nearest empty room and fuck you senseless. Alternatively, if he sees you getting jealous of someone hitting on him, then he’ll pull you aside and show you in every way he can that he is yours.

N = No (something they wouldn’t do, turn offs)

Infanalization, or really any age play where either of you is expected to act like a child. It’s insulting to him for one thing, since he can take some sexual humiliation, but he draws the line at not being at least considered a man.

As for you, he wants to be with an adult plain and simple. He finds it tedious and insipid otherwise.

O = Oral (preference in giving or receiving, skill, etc.)

Again, split right down the middle. There are nights that all he wants to do is tie your wrists to the bed posts as he buries himself between your legs, making you cum and cum again on his tongue until you can’t move.

Other times, he wants to pull your hair and fuck your face, making you take every inch of him before cumming down your throat.

P = Pace (are they fast and rough? slow and sensual? etc.)

Leans more towards the fast and rough, averaging at about 65% of the time. But for the other 35%, he takes his sweet time.

Q = Quickie (their opinions on quickies, how often, etc.)

Yes and please. Preferably during a ball or some other formal event where he fucks you in an empty corridor before eventually rejoining the party like nothing happened.

R = Risk (are they game to experiment? do they take risks? etc.)

All the time. He’ll trying anything once.

S = Stamina (how many rounds can they go for? how long do they last?)

He’s usually good for one to three rounds. But those rounds can last anywhere from 15 minutes a piece or a full hour depending on why you’re doing. So, stamina is never an issue.

T = Toys (do they own toys? do they use them? on a partner or themselves?)

A whole trunk full. Like I said, he’ll try anything once.

U = Unfair (how much they like to tease)

All the god damn time. If a party is particularly dull, he’ll spend the whole night teasing you. It’s a game to see how fast he can make you break.

There have been times he’s teased you right to the edge only to leave you tied to the bed and aching for hours before finishing the job.

And don’t even get me started on him trying to make you jealous of purpose. He’s such a drama queen.

V = Volume (how loud they are, what sounds they make, etc.)

He can be quiet if he really needs to be. If you’re having sex in a semi-public space he at least has the sense to keep it to himself; grunting and whispering dirty words against your skin.

When you’re in private however, all bets are off. He runs his mouth, he moans, he growls, and he curses like it’s going out of style.

W = Wild card (a random headcanon for the character)

He can talk a big game with one night stands, but his favorite kind of sex is with a consistent partner. He wants to be desired, but more than that, he wants to be chosen and chosen consistently. Having one person there every day choosing to be with him is everything.

X = X-ray (let’s see what’s going on under those clothes)

Not an overly thick or heavy cock, but certainly longer than average and it’s width proportional to his size. A nice, pretty seven inch dick.

Y = Yearning (how high is their sex drive?)

It’s strange, but when it’s just him and one night stands, his sex drive isn’t insane. He’s not going to get a head ache if he doesn’t have sex and dry spells don’t bother him as much.

But when he’s actually in a relationship, his sex drive is off the charts. I think he ultimately like the idea of someone wanting and choosing him consistently. It’s one of his biggest turn ons. So, you guys are having sex at least every other night.

Z = Zzz (how quickly they fall asleep afterwards)

It takes him a while to doze off. He likes to make sure you comfortable and clean. He’ll massage your muscles if you need it and talk the night away. He doesn’t want to miss a moment if he can help it.

#loki #loki x reader #loki odinson #loki odinson x reader #marvel #mcu #marvel imagine #mcu imagine #lemon

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fandomplethora · 4 years

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mystic messenger webtoon

(repost since my last post disappeared OTL)

LONG POST

warning: unorganized, rambling thoughts lol. (i’m all over the place right now, guys)

you guys. i have never been more excited and more *terrified* in my life.

let’s break it down.

it is officially announced that mystic messenger, as a webtoon, will be returning to us on april 11th. the prologue has already been released today.

LINK BUT HAHA IT’S ALL IN KOREAN T_T

from what i have been able to read *very briefly* is that there is no plan for an english (or any other language) translation just yet. it will be released on bookcube, a pay to read site.

(someone on reddit mentioned a hope that it may come to tappytoon or tapas? but there is no confirmation of any other site besides bookcube.)

that being said - we have *wonderful* people in this fandom already ready with some english translations! at the very least :’)

B O O M

creds, yo

let’s go into my (personal) negative outlooks first! (maybe i shouldn’t use an exclamation point when talking somewhat negatively...)

1. (not super negative) b u t - our mc is different. :,( i’m just attached to the idea of mc w/ bangs and long brown hair - the gold eyes. while other mc’s have made their way into art and ect...the mc from the game is the most popular one. i don’t understand the need for the change...besides to perhaps build upon this new version of the story with a brand new character. because mc *like this*, in this format, is a new character. she will, hopefully, have her own personality and traits and maybe backstory? even a minor one. b u t that could also, in the eyes of some people, be a negative...and, to others, a positive. we, as players, have been the mc this entire time so while good ending mc is looked at as, mainly, canon - which brings some fundamental characteristics to her character such as being empathetic, kind and...holy shit, incredibly *flexible* (like, apartment bomb? “nbd.” brand new group of people? “dope, let’s be friends.” cult? “well, what are we gonna do about it then.” mc, are you okay? mc: “are y o u g u y s okay tho?”) mc has not had her own story. does this mean she will now? now we may get new traits on top of those, a unique personality to who t h i s character is.

SIDE NOTE: *SLAMS HANDS ON TABLE* ya’ll, holy shit...is MC getting a name? she has to get a name now. AAAAA, okay this may go another direction and i may just have another character in this damn story i’d willingly throw myself in front of a car for. dAMN IT.

2. okay, it somewhat makes sense that saeyoung would NOT be there in the introduction of the four to this mc shown in the webtoon prologue. same with jihyun. of course, with saeran. but my fear is...i want equal relationship development with every character. unless they are approaching this in a “reset” type of way...(which i’m not sure if they will tbh).

from, my guess, the already meeting of them (all at the same time) shows us that we may just be on one big route with almosteverything included? which i am down for. but...then do it like that, right? bring saeyoung and jihyun into the picture, as well, more consistently. bring vanderwood in too due to his major role in saeyoung’s route, the secret endings and the entirety of another story. (y’know? what could be considered the “main plotline” that affects everyone in mm.) he IS a part of it. also, more moments with saeran. perhaps we will get (new) more mint eye scenes? a type of back and forth?

i’m really not trying to dictate how this story should go. i really am interested in this new take and what it may come with. but i just want...everyone there, y’know? i want those relationships equally delved into - how we all got to know them as we completed all routes and other dlc’s on the game.

3. i’m just...kind of scared of being disappointed. or *too much* changing. or...characters being made out in a way they are not? if that makes sense. i’m not trying to set it up for that...to play some “i’ve been here over three years and i know more than you” type of role, haha. they can bring in all of the angst from the game...but maybe change a few things to handle it better? deeper? make sure characters are more universally okay? add some things in too if you want! i also understand if not everything makes it in.

but they have a chance of really reigniting the fandom and also growing it. mm is a wonderful story that does capture your heart. and cheritz has done a lot of good, more good than bad in my eyes (personally!)...but also...sometimes have messed up too. i just want them to do the game, the characters and themselves justice.

P O S I T I V I T Y T I M E

1. okay, guys. c’mon. this mc is super cute UwU (not that that is what it’s all about lol) but i’m hoping we get to know her as a new character with unique traits. i’m excited to see her added into the story and for her interactions. we should all root for her! because we have allll been her shoes already, guys. <3 (also, as someone else pointed out, peep that bisexual bob, ya’ll.) let’s do this!

2. THE ART STYLE IS A M A Z I N G. they ALL look so good to me. i saw them and immediately went “there they are”. :’) kind of got emotional, ngl.

3. i do believe in one positive change that is going to happen! we are meeting them *right away* at least from what i can tell from this panel -

i think this makes sense in order to see the story in this form (and i even said this so long ago in another post when musing about changes if they ever made mm into a tv show). meeting them right away makes sense. and i am glad they are doing it this way! that made me excited to see. (and now you guys know what i mean about every character, hopefully, getting the part they deserve in this webtoon that i mentioned earlier.)

4. so, i may be getting ahead of myself and i am NOT trying to continually ask for more and more. but the fact that this game became a webtoon...means it could become a show one day. perhaps this is a way to test the waters? feel it out and see where things go. either way though, a webtoon happening (all on it’s own) is beyond exciting.

5. there will be new additions to this fandom! just the other day (and, as i’m sure, many of us feel too) i just miss this game and fandom so much. i’m not ready for it to just be over, i think. mystic messenger meant, it means, so much to me - so much to others. it is a wonderful story, a different approach to this genre while including important themes and filled with i n c r e d i b l e characters. things are not perfect but maybe...this can be the boost we all need again. and i am excited to welcome people into this fandom!

let’s all be kind to each other.

final thoughts;

i’m probably going to hunting down a translation all over the place on april 11th (and every release following, haha). i hope we do see this story translated in numerous languages - to include our, truly, worldwide fandom. i will be reading this and i am excited for this new part and chapter of this fandom and story! to see it this way and read it as such. i’m glad to see a boost to this fandom and to find my love for mystic messenger again...and hopefully others will too!

overall - THANK YOU, CHERITZ. and while i am incredibly nervous - i am going to remain (mostly) positive and excited! and only *slightly* skeptical.

i’d love to hear anyone else’s thoughts and discuss more about this.

and i can’t wait to see you all (and welcome even more) into the messenger again. <3

until then!

oh, and also...

...same, mc. same.

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faegrifted · 5 years

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Main Verse Appearance Details // Headcanon

Kenzi Concept Art by @senka-mesecine ( full version found here)

So I’ve been meaning to do this for a long time but lacked the proper visuals to fully convey how exactly Kenzi looks in my mind's eye in her main verse. That is till today when my good friend linked me my now finished commission of concept art for Kenzi’s main verse. As gorgeous as this is it’s not flawless by any means as some details here are only portrayed in a specific ship verse. Still, I’m gonna go through the significant bits and detail each one a tiny bit. For future reference aside from keeping Ksenia’s face and skin tone, this is the most accurate body reference for how Kenzi looks in main verse I’ll probably ever be able to give you guys. Keep in mind that Kenzi’s main verse in my portrayal takes place a full year after canon has ended and she is at least 26 at this time though the main verse spans around 10 years. She also spends most of her time indulging her wanderlust and walking the world when she isn’t dividing it between work as a PI for hire or as a thief and isn’t relaxing in the Villa in Spain that Hale left her.

T a t t o o s

Kenzi actually does have a rather significant amount of ink in her main verse and while I’m not going to go into the meaning and stories behind them in this post I will list them for you.

A fully colored and realistic sunflower on the inside of her right forearm.

A circlet on her right bicep

The words “Once upon a time.” are spiraled in swirly scrawl around her left arm.

A lacy feathered garter is wrapped around her left thigh.

A simple black band around her left ring finger in the place of a wedding ring.

A compass rose sits at the top of her back between her shoulder blades

Just below the compass and etched along the length of her spine is Tolkien’s “Not all who wander are lost.”

Specific to the verse I have with @therisingtempest she also has an anchor wrapped in impossibly beautiful water florals on her left side and up her ribcage

S c a r s

I think everyone by now knows about the little nicks and scars all over her fingers and hands but here are some scars that Kenzi has that I don’t think I’ve talked much about.

Little scars and nicks all over both hands and her fingers from practicing with knives as a kid.

Gash like scar along her abdomen that drags towards her right hip smoothed and faded with time. This scar was recieved during the battle with the Garuda. Kenzi was gutted and only survived because Hale used his voice as a siren to create a high enough frequency to cauterize the wound.

Multiple scars along her left arm from a life time of using it as a ‘distraction’ in times of trouble in thinking she’d rather it be injured in the process of getting away they have her dominant arm be rendered useless for any amount of time. The most notable of these scars would be an old knifing wound near her shoulder from a gang fight. The other would be a bite scar at the juncture of her arm where she was once bitten and dragged by a cu sith.

Invisible scar on her tongue from a piercing she had as a teenager as well as some now healed piercing scars in her ears.

H a i r

Never could bring myself to get into final season Kenzi’s blonde locks despite it looking gorgeous on her. In my portrayal I chalk her hair and her wardrobe change to needing some distance from not just Bo and the rest but her own self. She needed some time for reflection and thought both on herself, what happened, and what she really wanted. It took her a while to get back to her roots but the above image is the end result.

Kenzi’s true hair texture is actually soft curls that she tends to keep hidden with product and regular treatments to keep her hair sleek and straight. In main verse she’s dropped that in favor of a happy medium between straight and curly in she lets her hair turn to soft waves on the days she doesn’t straighten it smooth.

She’s also done away with the choppy straight edge bangs in favor of growing them out and keeping them side-swept for a softer more mature look.

Kenzi wouldn’t be herself without her colors and while they change somewhat regularly to whatever she fancies at the time, most often you can find Kenzi rocking the same teal and blue highlights and ends we saw in season 4.

S k i n T o n e & M a r k s

The featured skin tone is probably Kenzi at the darkest she can possibly tan and in that regard is specific to her verse with @therisingtempest where she resides on the sunny islands of Mag Mell.

That being said more often than not Kenzi is normally much paler then how she’s depicted in the concept art but due to her frequent travels and dividng her time between her home and the villa in Spain it’s not out there to think Kenzi does rock a tan on occasion depending on where she’s been.

They’re missing from the concept art but Kenzi does have duet beauty marks on the right side of her lips.

And while they are only ever present when she tans Kenzi had freckles across her nose as a child. They faded with age but reappear when she gets enough sun and fade once more when summer ends or she’s away from warmer climates.

W a r d r o b e

Not gonna talk a ton about this since it’s not a hella detail but Kenzi’s wardrobe in main verse has mellowed a bit. While she doesn’t dress to show nearly as much skin in the depicted art this is pretty close to her standard style in main verse. That’s not to say it’s changed completely. Far from it. More like she’s simply upgraded and broadened it. Most of Kenzi’s style consists of modern punk and soft grunge with gothic accents here and there. You could say her style has matured and softened in it’s way but remains loyal to it’s roots and probably always will. It should also be mentioned she dresses differently when she’s at home preferring comfort over style and tshirts and sweats aren’t an uncommon sight, nor are leggings, skirts, or shorts, or whatever she thinks would be practical for what she has planned for the day.

P i e r c i n g s

All of these have already been listed before in a previous headcanon but for organizations sake here they are!

3 lobe piercings in each ear.

An industrial piercing through her left ear in the shape of an arrow.

A double helix through her right.

Lastly the well kept secret of her navel being pierced.

#🌻 Headcanons;; ❛ Here’s the rap sheet. Well the rap sheet for a few of ‘me’. ❜#main verse tag tba #long post ts #long post for ts #good lord this one was a doozy and i was even trying to keep it short #still im glad its finally done!#will probably queue this and reblog it a few times #cause it is a somewhat significant headcanon for main verse

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pamphletstoinspire · 6 years

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BOOK OF JOB - From The Douay-Rheims Bible - Latin Vulgate

Chapter 33

The Book of Job shows how human affairs are ruled by Divine Providence using probable arguments.

"Although you hide these things in your heart, I know that you still remember everything." - (Job speaking to God)

***

INTRODUCTION. This Book takes its name from the holy man, of whom it treats; who, according to the more probable opinion, was of the race of Esau, and the same as Jobab, king of Edom, mentioned Gen. xxxvi. 33. It is uncertain who was the writer of it. Some attribute it to Job himself; others to Moses, or some one of the prophets. In the Hebrew it is written in verse, from the beginning of the third chapter to the forty-second chapter. Ch. --- The beginning and conclusion are historical, and in prose. Some have divided this work into a kind of tragedy, the first act extending to C. xv., the second to C. xxii., the third to C. xxxviii., where God appears, and the plot is unfolded. They suppose that the sentiments of the speakers are expressed, though not their own words. This may be very probable: but the opinion of those who look upon the work as a mere allegory, must be rejected with horror. The sacred writers speak of Job as of a personage who had really existed, (C.) and set the most noble pattern of virtue, and particularly of patience. Tob. ii. 12. Ezec. xiv. 14. Jam. v. 11. Philo and Josephus pass over this history, as they do those of Tobias, Judith, &c. H. --- The time when Job lived is not clearly ascertained. Some have supposed (C.) that he was a contemporary with Esther; (D. Thalmud) on which supposition, the work is here placed in its chronological order. But Job more probably live during the period when the Hebrews groaned under the Egyptian bondage, (H.) or sojourned in the wilderness. Num. xiv. 9. The Syrians place the book at the head of the Scriptures. C. --- Its situation has often varied, and is of no great importance. The subject which is here treated, is of far more; as it is intended to shew that the wicked sometimes prosper, while the good are afflicted. H. --- This had seldom been witnessed before the days of Abraham: but as God had now selected his family to be witnesses and guardians of religion, a new order of things was beginning to appear. This greatly perplexed Job himself; who, therefore, confesses that he had not sufficiently understood the ways of God, till he had deigned to explain them in the parable of the two great beasts. C. xlii. 3. We cannot condemn the sentiments expressed by Job, since God has declared that they were right, (ib. v. 8) and reprimands Elihu, (C. xxxviii. 2.) and the other three friends of Job, for maintaining a false opinion, though, from the history of past times, they had judge it to be true. This remark may excupate them from the stain of wilful lying, and vain declamation. Houbigant. --- However, as they assert what was false, their words of themselves are of no authority; and they are even considered as the forerunners of heretics. S. Greg. S. Aug. &c. T. --- Job refutes them by sound logic. S. Jerom. --- We may discover in this book the sum of Christian morality, (W.) for which purpose it has been chiefly explained by S. Gregory. The style is very poetical, (H.) though at the same time simple, like that of Moses. D. --- It is interspersed with many Arabic and Chaldaic idioms; (S. Jer.) whence some have concluded, that it was written originally by Job and his friends (H.) in Arabic, and translated into Heb. by Moses, for the consolation of his brethren. W. --- The Heb. text is in many places incorrect; (Houbig.) and the Sept. seem to have omitted several verses. Orig. --- S. Jerom says almost eight hundred, (C.) each consisting of about six words. H. --- Shultens, in 1747, expressed his dissatisfaction with the labours of all preceding commentators. To explain this book may not therefore be an easy task: but we must be as short as possible. H. --- Those who desire farther information, may consult Pineda, (W.) whose voluminous work, in two folios, will nearly (H.) give all necessary information. C.

The additional Notes in this Edition of the New Testament will be marked with the letter A. Such as are taken from various Interpreters and Commentators, will be marked as in the Old Testament. B. Bristow, C. Calmet, Ch. Challoner, D. Du Hamel, E. Estius, J. Jansenius, M. Menochius, Po. Polus, P. Pastorini, T. Tirinus, V. Bible de Vence, W. Worthington, Wi. Witham. — The names of other authors, who may be occasionally consulted, will be given at full length.

Verses are in English and Latin. HAYDOCK CATHOLIC BIBLE COMMENTARY

This Catholic commentary on the Old Testament, following the Douay-Rheims Bible text, was originally compiled by Catholic priest and biblical scholar Rev. George Leo Haydock (1774-1849). This transcription is based on Haydock's notes as they appear in the 1859 edition of Haydock's Catholic Family Bible and Commentary printed by Edward Dunigan and Brother, New York, New York.

TRANSCRIBER'S NOTES

Changes made to the original text for this transcription include the following:

Greek letters. The original text sometimes includes Greek expressions spelled out in Greek letters. In this transcription, those expressions have been transliterated from Greek letters to English letters, put in italics, and underlined. The following substitution scheme has been used: A for Alpha; B for Beta; G for Gamma; D for Delta; E for Epsilon; Z for Zeta; E for Eta; Th for Theta; I for Iota; K for Kappa; L for Lamda; M for Mu; N for Nu; X for Xi; O for Omicron; P for Pi; R for Rho; S for Sigma; T for Tau; U for Upsilon; Ph for Phi; Ch for Chi; Ps for Psi; O for Omega. For example, where the name, Jesus, is spelled out in the original text in Greek letters, Iota-eta-sigma-omicron-upsilon-sigma, it is transliterated in this transcription as, Iesous. Greek diacritical marks have not been represented in this transcription.

Footnotes. The original text indicates footnotes with special characters, including the astrisk (*) and printers' marks, such as the dagger mark, the double dagger mark, the section mark, the parallels mark, and the paragraph mark. In this transcription all these special characters have been replaced by numbers in square brackets, such as [1], [2], [3], etc.

Accent marks. The original text contains some English letters represented with accent marks. In this transcription, those letters have been rendered in this transcription without their accent marks.

Other special characters.

Solid horizontal lines of various lengths that appear in the original text have been represented as a series of consecutive hyphens of approximately the same length, such as ---.

Ligatures, single characters containing two letters united, in the original text in some Latin expressions have been represented in this transcription as separate letters. The ligature formed by uniting A and E is represented as Ae, that of a and e as ae, that of O and E as Oe, and that of o and e as oe.

Monetary sums in the original text represented with a preceding British pound sterling symbol (a stylized L, transected by a short horizontal line) are represented in this transcription with a following pound symbol, l.

The half symbol (1/2) and three-quarters symbol (3/4) in the original text have been represented in this transcription with their decimal equivalent, (.5) and (.75) respectively.

Unreadable text. Places where the transcriber's copy of the original text is unreadable have been indicated in this transcription by an empty set of square brackets, [].

Chapter 33

Eliu blames Job for asserting his own innocence.

[1] Hear therefore, O Job, my speeches, and hearken to all my words.

Audi igitur, Job, eloquia mea, et omnes sermones meos ausculta.

[2] Behold now I have opened my mouth, let my tongue speak within my jaws.

Ecce aperui os meum : loquatur lingua mea in faucibus meis.

[3] My words are from my upright heart, and my lips shall speak a pure sentence.

Simplici corde meo sermones mei, et sententiam puram labia mea loquentur.

[4] The spirit of God made me, and the breath of the Almighty gave me life.

Spiritus Dei fecit me, et spiraculum Omnipotentis vivificavit me.

[5] If thou canst, answer me, and stand up against my face.

Si potes, responde mihi, et adversus faciem meam consiste.

[6] Behold God hath made me as well as thee, and of the same clay I also was formed.

Ecce, et me sicut et te fecit Deus, et de eodem luto ego quoque formatus sum.

[7] But yet let not my wonder terrify thee, and let not my eloquence be burdensome to thee.

Verumtamen miraculum meum non te terreat, et eloquentia mea non sit tibi gravis.

[8] Now thou has said in my hearing, and I have heard the voice of thy words:

Dixisti ergo in auribus meis, et vocem verborum tuorum audivi :

[9] I am clean, and without sin: I am unspotted, and there is no iniquity in me.

Mundus sum ego, et absque delicto immaculatus, et non est iniquitas in me.

[10] Because he hath found complaints against me, therefore he hath counted me for his enemy.

Quia querelas in me reperit, ideo arbitratus est me inimicum sibi.

[11] He hath put my feet in the stocks, he hath observed all my paths.

Posuit in nervo pedes meos; custodivit omnes semitas meas.

[12] Now this is the thing in which thou art not justified: I will answer thee, that God is greater than man.

Hoc est ergo in quo non es justificatus. Respondebo tibi, quia major sit Deus homine.

[13] Dost thou strive against him, because he hath not answered thee to all words?

Adversus eum contendis, quod non ad omnia verba responderit tibi?

[14] God speaketh once, and repeateth not the selfsame thing the second time.

Semel loquitur Deus, et secundo idipsum non repetit.

[15] By a dream in a vision by night, when deep sleep falleth upon men, and they are sleeping in their beds:

Per somnium, in visione nocturna, quando irruit sopor super homines, et dormiunt in lectulo,

[16] Then he openeth the ears of men, and teaching instructeth them in what they are to learn.

tunc aperit aures virorum, et erudiens eos instruit disciplina,

[17] That he may withdraw a man from the things he is doing, and may deliver him from pride.

ut avertat hominem ab his quae facit, et liberet eum de superbia,

[18] Rescuing his soul from corruption: and his life from passing to the sword.

eruens animam ejus a corruptione, et vitam illius, ut non transeat in gladium.

[19] He rebuketh also by sorrow in the bed, and he maketh all his bones to wither.

Increpat quoque per dolorem in lectulo, et omnia ossa ejus marcescere facit.

[20] Bread becometh abominable to him in his life, and to his soul the meat which before he desired.

Abominabilis ei fit in vita sua panis, et animae illius cibus ante desiderabilis.

[21] His flesh shall be consumed away, and his bones that were covered shall be made bare.

Tabescet caro ejus, et ossa, quae tecta fuerant, nudabuntur.

[22] His soul hath drawn near to corruption, and his life to the destroyers.

Appropinquavit corruptioni anima ejus, et vita illius mortiferis.

[23] If there shall be an angel speaking for him, one among thousands, to declare man's uprightness,

Si fuerit pro eo angelus loquens, unus de millibus, ut annuntiet hominis aequitatem,

[24] He shall have mercy on him, and shall say: Deliver him, that he may not go down to corruption: I have found wherein I may be merciful to him.

miserebitur ejus, et dicet : Libera eum, ut non descendat in corruptionem : inveni in quo ei propitier.

[25] His flesh is consumed with punishment, let him return to the days of his youth.

Consumpta est caro ejus a suppliciis : revertatur ad dies adolescentiae suae.

[26] He shall pray to God, and he will be gracious to him: and he shall see his face with joy, and he will render to man his justice.

Deprecabitur Deum, et placabilis ei erit : et videbit faciem ejus in jubilo, et reddet homini justitiam suam.

[27] He shall look upon men, and shall say: I have sinned, and indeed I have offended, and I have not received what I have deserved.

Respiciet homines, et dicet : Peccavi : et vere deliqui, et ut eram dignus non recepi.

[28] He hath delivered his soul from going into destruction, that it may live and see the light.

Liberavit animam suam, ne pergeret in interitum, sed vivens lucem videret.

[29] Behold, all these things God worketh three times within every one.

Ecce haec omnia operatur Deus tribus vicibus per singulos,

[30] That he may withdraw their souls from corruption, and enlighten them with the light of the living.

ut revocet animas eorum a corruptione, et illuminet luce viventium.

[31] Attend, Job, and hearken to me: and hold thy peace, whilst I speak.

Attende, Job, et audi me : et tace, dum loquor.

[32] But if thou hast any thing to say, answer me, speak: for I would have thee to appear just.

Si autem habes quod loquaris, responde mihi : loquere, volo enim te apparere justum.

[33] And if thou have not, hear me: hold thy peace, and I will teach thee wisdom.

Quod si non habes, audi me : tace, et docebo te sapientiam.

Commentary:

Ver. 3. Sentence. Some Edit. have scientiam, "knowledge," with the Heb. C.

Ver. 4. Spirit. We are therefore equal. M. --- Thou canst not fear being overpowered with the divine majesty, in this dispute. C. xiii. 21. C. --- Life. Sept. "instruction." H.

Ver. 6. Formed. Job had expressed a desire to plead before a man. C. ix. 32. and xiii. 19. and xxxi. 35. Eliu offers himself to maintain the cause of God. C.

Ver. 7. Wonder (miraculum.) Heb. "terror," (H.) in allusion to Job's words. C. ix. 34. --- Eloquence. Heb. "hand." C. --- Sept. "the dread of me shall not cast thee down, nor my hand be heavy upon thee." Arrogant men esteem their own observations as something wonderful. S. Greg. W.

Ver. 9. In me. Job had not said so in express terms, though he had said something to the same purpose. But he had sufficiently explained himself, and Eliu could not be ignorant that he only meant that his present sufferings were not proportioned to his guilt. C.

Ver. 10. Complaints. Something similar had indeed come from Job's lips; (C. xiv. 17. and xx. 21.) not that he pretended that God sought to find him guilty without cause; but he meant that He treated him as an enemy, for some secret purpose. C.

Ver. 11. Stocks. C. xiii.14. and xiv. 16. Eliu interprets the words in the worst sense, though Job had only expostulated with God on the treatment which he received, testifying a great love and confidence in him. He acknowledges some want of knowledge. C. xlii. 3. C.

Ver. 12. Man: so that he is not obliged to explain his reasons. M.

Ver. 13. Because. Sept. "Thou hast said, Why has not He heard every word of my pleading or judgment." Aquila and Theod. "for all his words are unanswerable." Prot. "He giveth not account of any of his matters." H.

Ver. 14. Time. One decision ought to suffice; and God had declared Job innocent. C. i. 8. &c. W. --- His decrees are immutable; and yet thou wouldst have him to explain his conduct, as if he could be under a mistake, and correct it. He manifests his will, and it is our business to be attentive. We cannot expect that he should speak twice, though he does so frequently in his great mercy. Heb. "God speaketh once, and he regardeth not a second time." C. --- Sept. "But the second time, (15) a dream," &c. H. --- Eliu specifies three methods by which God declares his will; (v. 26) 1. By vision; 2. by afflictions; 3. by the voice of angels, or of preachers, v. 19. 23.

Ver. 15. Beds. It seems prophetic dreams were not then uncommon.

Ver. 16. Instructeth. Heb. "sealing," that they may not mistake such a favour for a common dream. C.

Ver. 17. Him. Sept. "his body from the fall [of iniquity.]" Grabe. H.

Ver. 19. Also. This is the second method of instruction. Eliu pretends that Job had thus been visited by God, and had not understood his meaning.

Ver. 21. Bare. The skin will scarcely cover them. He will appear ghastly, like a skeleton. C. --- Heb. "his bones...shall stick out." Prot. H.

Ver. 22. Destroyers; the worms in the grave, (H.) or to sickness, (M.) "which bring on death." Pagnin mortiferis.

Ver. 23. Angel, by secret inspirations, (S. Tho. T. &c.) or a man sent by God, to announce the truths of salvation. Mariana. --- Man's, or "to man." C. --- Heb. "a messenger with him, an interpreter, one...to declare to man his uprightness." Prot. (H.) "If there be any merit in him, the angel comforter, chosen from a thousand accusers, is ready to declare to the son of man his rectitude." Sept. "If there be a thousand destroying angels, not one of them shall hurt him; if the consider in his heart to be converted unto the Lord. Though he (the angel) lay before man his reproof, and shew his folly, He (God) will take hold of him, that he may not die. He will renew his flesh as the plaster of a wall, and fill his bones with marrow: (25) he will make his flesh soft, like that of an infant, and will place him in manhood among men." H. --- But this is different from the Heb. C. --- The intercession of angels is very powerful. The are represented as suggesting motives, which prevail on God to shew mercy, v. 24. H.

Ver. 25. Consumed. Heb. "fresher than a child's," (H.) as was the case of Naaman. 4 K. v. 14.

Ver. 26. And he. It is ambiguous whether this refer to God or to man. C. --- But both shall see each other with joy. The penitent will be restored to as much favour as if he had never sinned. H.

Ver. 29. Times, or often. God instructs man by visions, sickness, and the intercession and inspirations of angels, v. 14. C.

Ver. 30. Living, both soul and body, delivering them from adversity. C.

Ver. 32. Just, and to be so indeed. M. - How much would his vanity be mortified, when Job answered him only with silence! (H.) though he urged him to reply so often. W.

#book of job

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itsjaybullme · 7 years

Text

Dexter's Secrets

Dexter Jackson's greatness is a given, even as time marches on and younger competitors rise and fall. His beard is gray, his face is lined, but his physique refuses to age. In an effort to discover his secrets, we examine what makes the Blade so phenomenal, from A to Z.

A IS FOR ARNOLD CLASSIC

No competitor is more associated with a contest than the Blade is with the Arnold. He holds every significant record: most wins (5), most entries (15), most top-five finishes (14). In addition, he’s won the Arnold Classic Australia and Arnold Classic Europe. With all due respect to the contest’s namesake, Jackson owns the A.C. (all stats are as of July 2016).

B IS FOR BICEPS

He has two of the highest-caliber guns ever flexed on a stage, but if you’re looking for the key to bulbous biceps here, the secret is there is no secret. He does the same things most every other bodybuilder does for moderate volume and moderate reps. A typical routine consists of EZ-bar preacher curls, seated alternate dumbbell curls, and one-arm machine curls, all for four sets of 8-10 reps. “There are a lot of different ways to do a curl with free weights and machines,” he says.

C IS FOR CHARLES GLASS

Around the time he turned 41 at the end of 2010, when it seemed his physique might actually be fading, Jackson enlisted trainer Charles Glass, even though it meant “commuting” from Florida to California. Glass, a master of hitting all the angles with modified exercises, has been Jackson’s trainer ever since, proving you can teach an old dog new tricks.

D IS FOR DELTOIDS

At first glance, his shoulder routine seems elementary: an overhead press, a front raise, a lateral raise, and a rear lateral, four sets of each, 10-15 reps per set. What makes it unique is Glass and his bag of tricks. The master trainer is liable to come up with things like a one-arm Smith machine overhead press (sitting perpendicular to the bar) and an underhand EZ-bar front raise. The parameters stay the same, but even Jackson is surprised by the particulars of each workout.

E IS FOR EATING

This is the part he doesn’t like—all those monotonous meals. “I’m not naturally a big eater,” he states. “When I retire, I’ll eat like a normal person and weigh less than 200 pounds.” For now, though, eating is a big part of his job. He makes the most of it by spicing up his off-season meals with things like mashed potatoes, turkey bacon, buttered lobster, and steak smothered in sauce. However, when the Blade brings out the cuts during his contest prep, he turns to the diet staples—tilapia, chicken breasts, and sauce-free steak.

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F IS FOR FORTIES

After reaching the big 4-0, Ronnie Coleman won two Olympias (at 40 and 41) and was second in another (42), Chris Dickerson was runner-up twice (41, 42) before winning (43) and he won nine other pro shows, and Albert Beckles was second in the O (47) and won eight pro shows, the final one at 51. The Blade certainly has stiff competition, but with a second at the Olympia (45); two Arnold Classic titles (43, 45); and 10 other pro victories, his sustained excellence gives him the edge over Dickerson as the best over-40 bodybuilder of all time. And, as his New York Pro win in May (46) proves, he’s still on point.

G IS FOR GALE ELIE

This former figure competitor is Dexter’s longtime girlfriend.

H IS FOR HIGH DEFINITION

He’s been around so long it’s difficult to remember what he looked like more than a decade ago. Even his 2008 Mr. Olympia shape was not him in his peeled prime. He simply got too big to go ultra-HD. But from 1999-2006, he was consistently the crispest conditioned bodybuilder in pro contests. His waist was nearly invisible, and he sported deep detailing in even his lower back. In 1999, contest promoter Ed Pariso bestowed on him one of bodybuilding’s most iconic nicknames, “the Blade,” because he always delivered the cuts.

I IS FOR INJURIES

The Blade’s remarkable longevity has only been possible because he’s avoided trauma. “I don’t do all those crazy, heavy, compound movements that I did when I was younger,” he says. “As I got older I changed my training. Guys like Ronnie [Coleman] and Dorian [Yates] kind of fell apart at the end because they didn’t change their training. I do more isolation and machine exercises now. It works for me, as long as I train hard with good form.”

J IS FOR JACKSONVILLE

Appropriately, Jackson was born in this Florida city and still calls it home. Former IFBB Pro League bodybuilders Lee Labrada, Don Long, and Lee Banks also live here.”

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K IS FOR KNOWLEDGE

The fact that the Blade, at 41 and with a Sandow on his mantel, turned his workouts over to Charles Glass speaks volumes on his willingness to learn. Even in his 18th pro year, he is continually accumulating knowledge on workout techniques, nutrition, and how his body responds to exercises and foods.

L IS FOR LEGS

In his amateur days, Jackson’s legs lagged. He brought his quads up enough to rack up Arnold wins and a Sandow, but they were withering when he started working with Glass. With middle-age knees and hips, it becomes increasingly difficult to hoist enough heavy metal to maintain leg mass. But, through hard work and precise training, the Blade has made additions. Forget free-weight squats. He focuses on one-leg presses, superslow hack squats, and supersetting Smith machine front squats and leg extensions.

M IS FOR MOST MUSCULAR

At a generous 235, Jackson is the lightest winner of the Mr. Olympia over the past 32 years, but unlike most giant killers he didn’t slay Goliaths by playing “small ball” and wowing with aesthetics. His best pose is the one most associated with mass monsters: the crab-style most muscular. Because of the incredible density in his arms, delts, traps, and pecs, he’s able to hold his own in comparisons with giants.

N IS FOR NORTH AMERICA

After a light-heavy sixth at the 1996 Nationals, Jackson put his all into one final attempt to turn pro—the 1998 North Americans. With an outrageous V-taper and much-improved legs, the 28-year-old won the light-heavy and overall titles. “I had my family sleeping on the floor, and my girlfriend at the time was working two and three jobs so I could stay home, watch the kids, and train,” he remembers. “Had I not turned pro, I was done.”

O IS FOR OLYMPIA

It takes most winners only two or three tries. Jay Cutler won on his sixth try, but he’d been second four times. This was Jackson’s ninth Olympia, and he’d never previously been runner-up. Even he didn’t envision himself as the world’s best bodybuilder. But at 38, he bested Cutler to win the 2008 Mr. Olympia. “Mr. Olympia. Come on, that’s crazy,” he said afterward.

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P IS FOR PECTORALS

Jackson has long maintained one of the best chests in bodybuilding. He built it with the barbell and dumbbell standards, including plenty of bench pressing. Today, a typical routine consists of Smith machine incline presses, a seated machine press, incline flyes, and pec-deck flyes.

Q IS FOR QUALITY

His workouts might include a few forced reps and perhaps some super-sets, but mostly he performs straight sets. The one constant is quality reps. He doesn’t cheat, and he knows exactly how to maximize the tension on the targeted muscles from stretch to contraction, rep after rep.

R IS FOR RECORDS (as of 7/2016)

MOST ARNOLD CLASSICS | 15

MOST ARNOLD CLASSIC WINS | 5

MOST OLYMPIAS | 16

MOST PRO YEARS | 18

*He’s also narrow- ing in on most pro contests (he’s five behind Albert Beckles’ 81) and most pro wins (he’s one behind Ronnie Coleman’s 26).

S IS FOR SHORT

Maybe it’s because there’s nothing squat about his stature, or maybe it’s because his remarkable size always has him battling giants and never the 212 guys, but we tend to for- get that he’s only 5'6"—the same height as Shawn Ray and merely an inch taller than Flex Lewis and Franco Columbu. Dexter Jackson is the best bodybuilder under 5'9" of all time.

T IS FOR TRAPEZIUS

The five-time Arnold Classic champ has traps so high they seem at risk of impairing his hearing. To keep them from overshadowing his delts, he hasn’t shrugged for years. However, if you’re not sporting Olympia-worthy traps, he advises you to shrug away and also do some upright rowing. “Lots of guys have turned weak traps into a decent body part,” he states. “They usually grow pretty easily if you put the work in.”

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U IS FOR UBIQUITY

Since making his pro debut at the Arnold Classic on March 6, 1999, Jack- son has been in seemingly every major contest, covering a span so long it’s encompassing a fifth presidential election. In this, his record 18th pro year, he’ll flex in his record 17th Olympia. He is bodybuilding’s all-time ironman.

V IS FOR VENICE

“It’s the most famous gym in the world,” he says of Gold’s Gym Venice. “There’s so much history here you just can’t help but get up for each workout in the Mecca.” The flagship Gold’s Gym in Venice, CA, has been his workplace for the past six years.

W IS FOR WINS

After this year’s New York Pro, Jackson’s 25 pro wins puts him only one behind Coleman’s record 26. The Blade’s tally includes two masters pro shows, but, even if we limit it to open contests, the all-time mark is within reach.

X IS FOR X-FRAME

Most bodybuilders who are both short and hefty are built like boxes. Think Branch Warren. Because of a wispy waist beneath broad shoulders and above full quads, the Blade carries his superheavy mass like a light-heavyweight. His silhouette forms a distinctive X.

Y IS FOR YOUTH

We rightfully celebrate his success as an elder statesman, but he was once a bodybuilding prodigy. After pursuing football, martial arts, and track and field in high school, Jackson, at age 20, entered his first bodybuilding contest, the 1990 Jacksonville Physique. Though he was a 137-pound bantamweight rookie, he took the overall title. Growing into classes, he progressed through the ranks. In 1995, at 25, he won the USA light-heavy class.

Z IS FOR ZENITH

In a career with so many titles and records, it’s difficult to pinpoint a highlight. The 2008 Mr. Olympia is hard to top. But there are also the record five Arnold Classic victories. His ultimate achievement may be yet to come—the record for most IFBB pro wins. That could be Jackson’s this year or maybe next year. Or perhaps he’ll still be adding to his tally several years from now, as the Blade continues, against all odds, to confound his greatest rival—Father Time.

FLEX

from Bodybuilding Feed http://www.flexonline.com/training/dexters-secrets via http://www.rssmix.com/

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northfashionandtextiles · 7 years

Text

U P D A T E D F M P B R I E F :

Name: Rachel North

Title: A S P I R E

A I M S :

My Final Major Project will consist of a Womenswear Fashion Collection featuring element of both digitally constructed and hand worked textiles to show at New Designers. I will demonstrate my understanding of a variety of techniques learnt on the course (fashion design, textile design, fashion construction and thought/creativity) to enable to me to have broad job opportunities and show a combination of skills that not all graduates will be able to offer.

I would either would like to work in fashion or costume design (but I also have an interest in journalism) so it is important for me to show creative and practical skill as well as thoughtful written inspiration, purpose and evaluation within my work.

I will collect both primary and secondary research, work in the studio 4 days a week, seek plenty of feedback, self- evaluate and annotate the process as I go to aid development.

S Y N O P S I S : My final outcome will be 6 garments featuring; floral prints in crisp, bold, silhouettes, against detailed painterly florals . It will tell the story of the Bronte sisters’ journey from dejected young women of rural Yorkshire to ambitious and extraordinary female writers published in London. Elements of their humble beginnings surrounded by the moors, will be celebrated in large scale colourful prints. Celebrating the women’s’ success from writing behind male pseudonyms and to finally visiting London to reveal their identity as intelligent, successful sisters from the North of England to their astonished publishing house.

Fabric, colour, print and detail will contain elements womenswear, menswear and formalwear. It will emphasise and celebrate women’s progression against the odds in vibrant, rich colour, natural, beautiful fabrics, clean, large scale prints and repeated garment features.

R E S E A R C H :

Research has begun with visits to the Bronte Parsonage, the surrounding moorlands and authentic mid 19th century at the V&A Museum. The natural mood an florals of the moorlands as well as the mood, colour and elements of aging at the Parsonage will inspire applied and printed textiles as well as fabric. The BBC’s film ‘To Walk Invisible’ will heavily inspire colour palettes, garment shape and detail along with modern designers who have reinvented similar techniques like Anna October.

F A S H I O N :

A detailed study of women’s and menswear garment details in the film ‘To Walk Invisible’ and authentic mid 19th century clothing will inform garment shape and detail. The typical features of binary genders will be combined and layered in my collection to show the male façade the female writers hid behind.

I also intend to research designers like Anna October, Simone Rocha and Gucci to modernise my designs; to inform how to use prints, garment details and what makes up a coherent collection.

P R I N T / T E X T I L E S :

Print will include detailed, digital floral prints in the style of oil painted florals; representing the girls dressing formally as they visit London.

Simple hand printed/worked stencil-like, silhouette florals referencing wallpaper from the Bronte Parsonage; will be used in contrast to the detailed oil painted ones to reflect the historical influences of the rural, working background of 19th century Haworth where the girls spent most of their lives in. They will also reflect the boom in the textile industry at the time; mass production and cylinder processes were now coming in common use. The stencil prints being much easier to reproduce and the detailed, blended, tonal are much harder to reproduce as this was a real issue for textile designers of the time. Reference to the environment is important within the collection floral motifs are wildflowers native to the moorland of Haworth.

M A T E R I A L S :

Materials will have a historical aesthetic; woven and natural. Heavy weight Cotton/Silk mix satin as well as a medium weight cotton sateen will be used throughout the collection, with elements of heavy weight linen will reference a modest background and complement the more luxury fabrics (representing the success of the women). Ribbons and eyelets will feature throughout the looks in drawstrings fastenings, indifferent sizes and quantities. These will be sourced independently through investigation independent sellers.

B R A N D & C U S T O M E R :

The collection will be a high-end luxury Womenswear Autumn-Winter collection featuring a combination of digitally printed and hand-worked techniques. The collection and the brand will have a real air of British Heritage.

My customer will be the younger middle class women who wants to escape working life and appreciates the calming and joyful values of nature. They enjoy unique, youthful, feminine clothing with a high-quality finish and coherent aesthetic with thoughtful meaning.

B I B L I O G R A P H Y :

FILM & TV: BBC (2016) To Walk Invisible [video] Cardiff: BBC Cymru Wales

BOOKS:

P. Ingram (2006) The Brontes

S. Fermi (2006) Emily’s Journal

L. Johnston (2016) 19th Century Fashion in Detail

C. Hallett & A. Johnston (2010) Fabric for Fashion

W. Aldrich (2008) Metric Pattern Cutting For Women’s Wear

M. Bowles, C. Isaac (2009) Digital Textile Design Barclay, K. (2011) Love, Intimacy and Power: Marriage and Patriarchy in Scotland 1650-1850, Manchester: Manchester University Press

Bronte, E (1994) Wuthering Heights, Essex: Pearson Education Limited

Dinsdale, A. and White, K. (2013) Bronte Parsonage Museum London: Scala Arts & Heritage Publishers Ltd

Engels, F. (2008) The condition of the working-class in England in 1844, New York: Cosimo Classics

Fermi, S. (2006) Emily’s Journal, Cambridge: Pegasus Paperback

Houlebrook, R. (2013) The English Family: 1450–1700, New York: Routledge

Ingham, P. (2006) The Brontes, New York: Oxford University Press

Laurence, A., Maltby, J. and Rutterford, J. (2009) Women and Their Money 1700-1950: Essays on Women and Finance, Oxon: Routledge

Letellier R. I. (2002) The English Novel, 1700-1740: An Annotated Bibliography, Westport: Greenwood Press

Shakespeare, W. (1998) The Oxford Shakespeare: A Midsummer Night’s Dream New York: Oxford University Press

Vikery, A. (2003) The Gentleman’s Daughter, London: Yale University Press

WEBPAGES & SOCIAL MEDIA ACCOUNTS:

http://www.vogue.com/fashion-shows - website for designer research

http://www.vogue.com/fashion-shows/spring-2017-ready-to-wear/simone-rocha

http://fw-daily.com/anna-october-predstavila-lukbuk-kollektsii-pre-fall-17/ - article on anna october

http://www.forloveandlemons.com/collections/ready-to-wear - website for brand research

http://www.valentino.com/gb - website brand research

http://www.tedbaker.com/uk/Womens/c/category_womens?cmpid=ppc_Google_UK_Brand_95226692_3824388332_ted%20baker_e&gclid=CNvgg-CXn9MCFesV0wodAfkBWw - website brand/portfolio research

https://uk.burberry.com/women/?gclid=CMPwsN6Xn9MCFWMq0wod6zYOiw&gclsrc=aw.ds&dclid=CI-S2N6Xn9MCFSQx0wod6MEA0g - website brand/portfolio research

https://www.artsthread.com/ - website portfolio research

https://fashionthroughhistory.wordpress.com/ - blog historical influence

http://hyperallergic.com/129541/the-secret-victorian-language-of-flowers/ - article on oil florals

@fashionthroughhistory – Instagram

Crossref-it.info (2016) Emily Bronte and Victorian Britian [Online] Available from: http://crossref-it.info/textguide/Wuthering-Heights/35/2466 [Accessed 19 November 2016]

Crossref-it.info (2016) Emily Bronte’s Early Years [Online] Available from: http://crossref-it.info/textguide/Wuthering-Heights/35/2466 [Accessed 19 November 2016]

Crossref-it.info (2016) The Status of Prose Fiction [Online] Available from: http://crossref-it.info/textguide/Wuthering-Heights/35/2466 [Accessed 19 November 2016]

Maurer E. (2016) Courtship and Marriage in the Eighteen Century [Online] Available from: http://www.history.org/history/teaching/enewsletter/volume7/mar09/courtship.cfm [Accessed: 25 November 2016]

@alexandermcqueen - Instagram

@maisonvalentino - Instagram

@anna_october_ - Instagram

PLACES & EXHBITIONS:

The Bronte Parsonage – Haworth, Yorkshire

The Yorkshire Moors – Yorkshire

The Victoria & Albert Museum – South Kensington, London

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pamphletstoinspire · 6 years

Photo

BOOK OF JOB - From The Douay-Rheims Bible - Latin Vulgate

Chapter 26

The Book of Job shows how human affairs are ruled by Divine Providence using probable arguments.

"Although you hide these things in your heart, I know that you still remember everything." - (Job speaking to God)

***

INTRODUCTION.

This Book takes its name from the holy man, of whom it treats; who, according to the more probable opinion, was of the race of Esau, and the same as Jobab, king of Edom, mentioned Gen. xxxvi. 33. It is uncertain who was the writer of it. Some attribute it to Job himself; others to Moses, or some one of the prophets. In the Hebrew it is written in verse, from the beginning of the third chapter to the forty-second chapter. Ch. --- The beginning and conclusion are historical, and in prose. Some have divided this work into a kind of tragedy, the first act extending to C. xv., the second to C. xxii., the third to C. xxxviii., where God appears, and the plot is unfolded. They suppose that the sentiments of the speakers are expressed, though not their own words. This may be very probable: but the opinion of those who look upon the work as a mere allegory, must be rejected with horror. The sacred writers speak of Job as of a personage who had really existed, (C.) and set the most noble pattern of virtue, and particularly of patience. Tob. ii. 12. Ezec. xiv. 14. Jam. v. 11. Philo and Josephus pass over this history, as they do those of Tobias, Judith, &c. H. --- The time when Job lived is not clearly ascertained. Some have supposed (C.) that he was a contemporary with Esther; (D. Thalmud) on which supposition, the work is here placed in its chronological order. But Job more probably live during the period when the Hebrews groaned under the Egyptian bondage, (H.) or sojourned in the wilderness. Num. xiv. 9. The Syrians place the book at the head of the Scriptures. C. --- Its situation has often varied, and is of no great importance. The subject which is here treated, is of far more; as it is intended to shew that the wicked sometimes prosper, while the good are afflicted. H. --- This had seldom been witnessed before the days of Abraham: but as God had now selected his family to be witnesses and guardians of religion, a new order of things was beginning to appear. This greatly perplexed Job himself; who, therefore, confesses that he had not sufficiently understood the ways of God, till he had deigned to explain them in the parable of the two great beasts. C. xlii. 3. We cannot condemn the sentiments expressed by Job, since God has declared that they were right, (ib. v. 8) and reprimands Elihu, (C. xxxviii. 2.) and the other three friends of Job, for maintaining a false opinion, though, from the history of past times, they had judge it to be true. This remark may excupate them from the stain of wilful lying, and vain declamation. Houbigant. --- However, as they assert what was false, their words of themselves are of no authority; and they are even considered as the forerunners of heretics. S. Greg. S. Aug. &c. T. --- Job refutes them by sound logic. S. Jerom. --- We may discover in this book the sum of Christian morality, (W.) for which purpose it has been chiefly explained by S. Gregory. The style is very poetical, (H.) though at the same time simple, like that of Moses. D. --- It is interspersed with many Arabic and Chaldaic idioms; (S. Jer.) whence some have concluded, that it was written originally by Job and his friends (H.) in Arabic, and translated into Heb. by Moses, for the consolation of his brethren. W. --- The Heb. text is in many places incorrect; (Houbig.) and the Sept. seem to have omitted several verses. Orig. --- S. Jerom says almost eight hundred, (C.) each consisting of about six words. H. --- Shultens, in 1747, expressed his dissatisfaction with the labours of all preceding commentators. To explain this book may not therefore be an easy task: but we must be as short as possible. H. --- Those who desire farther information, may consult Pineda, (W.) whose voluminous work, in two folios, will nearly (H.) give all necessary information. C.

Verses are in English and Latin.

HAYDOCK CATHOLIC BIBLE COMMENTARY

TRANSCRIBER'S NOTES

Changes made to the original text for this transcription include the following:

Accent marks. The original text contains some English letters represented with accent marks. In this transcription, those letters have been rendered in this transcription without their accent marks.

Other special characters.

Solid horizontal lines of various lengths that appear in the original text have been represented as a series of consecutive hyphens of approximately the same length, such as ---.

The half symbol (1/2) and three-quarters symbol (3/4) in the original text have been represented in this transcription with their decimal equivalent, (.5) and (.75) respectively.

Unreadable text. Places where the transcriber's copy of the original text is unreadable have been indicated in this transcription by an empty set of square brackets, [].

Chapter 26

Job declares his sentiments of the wisdom and power of God.

[1] Then Job answered, and said:

Respondens autem Job dixit :

[2] Whose helper art thou? is it of him that is weak? and dost thou hold up the arm of him that has no strength?

Cujus adjutor es? numquid imbecillis? et sustentas brachium ejus qui non est fortis?

[3] To whom hast thou given counsel? perhaps to him that hath no wisdom, and thou hast shewn thy very great prudence.

Cui dedisti consilium? forsitan illi qui non habet sapientiam, et prudentiam tuam ostendisti plurimam.

[4] Whom hast thou desired to teach? was it not him that made life?

Quem docere voluisti? nonne eum qui fecit spiramentum?

[5] Behold the giants groan under the waters, and they that dwell with them.

Ecce gigantes gemunt sub aquis, et qui habitant cum eis.

[6] Hell is naked before him, and there is no covering for destruction.

Nudus est infernus coram illo, et nullum est operimentum perditioni.

[7] He stretched out the north over the empty space, and hangeth the earth upon nothing.

Qui extendit aquilonem super vacuum, et appendit terram super nihilum.

[8] He bindeth up the waters in his clouds, so that they break not out and fall down together.

Qui ligat aquas in nubibus suis, ut non erumpant pariter deorsum.

[9] He withholdeth the face of his throne, and spreadeth his cloud over it.

Qui tenet vultum solii sui, et expandit super illud nebulam suam.

[10] He hath set bounds about the waters, till light and darkness come to an end.

Terminum circumdedit aquis, usque dum finiantur lux et tenebrae.

[11] The pillars of heaven tremble, and dread at his beck.

Columnae caeli contremiscunt, et pavent ad nutum ejus.

[12] By his power the seas are suddenly gathered together, and his wisdom has struck the proud one.

In fortitudine illius repente maria congregata sunt, et prudentia ejus percussit superbum.

[13] His spirit hath adorned the heavens, and his obstetric hand brought forth the winding serpent.

Spiritus ejus ornavit caelos, et obstetricante manu ejus, eductus est coluber tortuosus.

[14] Lo, these things are said in part of his ways: and seeing we have heard scarce a little drop of his word, who shall be able to behold the thunder of his greatness?

Ecce haec ex parte dicta sunt viarum ejus : et cum vix parvam stillam sermonis ejus audierimus, quis poterit tonitruum magnitudinis illius intueri?

Commentary:

Ver. 4. Life. Sept. also seem to understand this of God. C. --- Job does not blame his friends for undertaking to approve the ways of Providence, but for condemning himself (S. Chrys.) rashly, (H.) and, with an air of haughtiness, endeavouring to restrain him from pleading his cause before the divine tribunal. M. --- Heb. "Whose spirit came from thee?" Prot. (H.) Did I receive my life, or do I seek advice from thee? C. --- God stood in no need of Baldad's wisdom (W.) no more than Job. H.

Ver. 5. With them. The less and greater fishes, (M.) or rather the giants and others who were buried in the waters of the deluge, and are confined in the dungeons of hell. The poets speak in the same manner.

"Hic genus antiquum terræ, Titania pubes,

Fulmine dejecti fundo voluntur in imo.

Aliis sub gurgite vasto,

Infectum eluitur scelus aut exuritur igni." Æn. vi.

--- Homer (Iliad viii.) and Hesiod (Theog.) place the giants at the extremity of the earth, in the utmost darkness. See also Prov. ix. 18. Isai. xiv. 9. C.

Ver. 6. Hell. The grave. --- Destruction. Heb. abaddon. H. --- S. John (Apoc. ix. 11.) styles the bottomless abyss; (C.) or its angel, (H.) Abaddon, or Apollyon. It may here be called destruction, (C.) as all its victims are lost for ever to every thing that is good. The obscurity of the grave, and even that of hell, can hide nothing from God.

Ver. 7. North pole, which alone was visible in Idumea, and continued unmoved, while all the stars performed their revolutions. C. --- Nothing. Terra, pilæ similis, nullo fulcimine nixa. Ovid, Fast. vi. C. --- All tends to the centre, (M.) by the laws of attraction. Newton, &c. H.

Ver. 8. Clouds, as in a vessel or garment. Prov. xxx. 4.

Ver. 9. Over it. The firmament, with all its beauty, is but like a cloud, to conceal from our feeble eyes the splendor of God's throne.

Ver. 10. End. Till the end of the world, the ocean will respect these limits. H. --- The ancients looked upon it as a continual miracle that the world was not deluged, as the waters are higher than the earth. Jer. v. 22. Amos v. 8. S. Bas. and S. Amb. Hexem. Cicero, Nat. ii. --- Philosophers have explained this phenomenon. But it is still certain that the power and wisdom of God preserve the equilibrium, without which all would return to the ancient chaos. C.

Ver. 11. Heaven. The mountains are so styled by Pindar; and the poets represent them supporting the heavens. Totum ferre potest humeris minitantibus orbem. Petron. --- Yet others understand that power which keeps all things together, (C.) or the angels, to whose rule the ancients attributed the celestial bodies. S. Greg. Ven. Bede, &c.

Ver. 12. Together, at the beginning. Gen. i. 9. Heb. "By his strength he has divided the sea; and by his wisdom he has pierced the proud, or Egypt." Rahab, (H.) or Rachab, is often put for Egypt; (Ps. lxxxviii. 11.) and all would naturally have concluded that the fall of Pharao was pointed at, if it had not been supposed that Job lived before that event. That is, however, dubious. Isaias (li. 9.) uses the same terms in describing the fall of this tyrant. C. --- Yet the Sept. translate, "the whale," (H.) or some sea monster, which God holds in subjection, (Pineda) like the weakest creature. H. --- The foaming billows (M.) are likewise subject to his control. H.

Ver. 13. Heavens, with stars, &c. Ps. xxxii. 6. Wisd. i. 7. God also sends winds to disperse the clouds, that the heavens may appear. C. --- Artful, (obstetricante) "being the midwife." The least things are ruled by Providence. W. --- Serpent; a constellation, lightning, the devil, or rather the leviathan. Isai. xxvii. 1. Drusius. C. --- Sept. "by his decree, he killed the apostate dragon." H. - But there is no need of having recourse to allegory. C.

Ver. 14. Drop. This comparison is often applied to speech. Deut. xxxii. 2. Isai. lv. 10. If the little that we know of God's works give us such an exalted idea of his greatness, what should we think if we could fully comprehend his mysteries? C.

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BOOK OF JOB - From The Douay-Rheims Bible - Latin Vulgate

Chapter 15

The Book of Job shows how human affairs are ruled by Divine Providence using probable arguments.

"Although you hide these things in your heart, I know that you still remember everything." - (Job speaking to God)

***

INTRODUCTION.

Verses are in English and Latin.

HAYDOCK CATHOLIC BIBLE COMMENTARY

TRANSCRIBER'S NOTES

Changes made to the original text for this transcription include the following:

Accent marks. The original text contains some English letters represented with accent marks. In this transcription, those letters have been rendered in this transcription without their accent marks.

Other special characters.

Solid horizontal lines of various lengths that appear in the original text have been represented as a series of consecutive hyphens of approximately the same length, such as ---.

The half symbol (1/2) and three-quarters symbol (3/4) in the original text have been represented in this transcription with their decimal equivalent, (.5) and (.75) respectively.

Unreadable text. Places where the transcriber's copy of the original text is unreadable have been indicated in this transcription by an empty set of square brackets, [].

Chapter 15

Eliphaz returns to the charge against Job, and describes the wretched state of the wicked.

[1] And Eliphaz the Themanite, answered, and said:

Respondens autem Eliphaz Themanites, dixit :

[2] Will a wise man answer as if he were speaking in the wind, and fill his stomach with burning heat?

Numquid sapiens respondebit quasi ventum loquens, et implebit ardore stomachum suum?

[3] Thou reprovest him by words, who is not equal to thee, and thou speakest that which is not good for thee.

Arguis verbis eum qui non est aequalis tibi, et loqueris quod tibi non expedit.

[4] As much as is in thee, thou hast made void fear, and hast taken away prayers from before God.

Quantum in te est evacuasti timorem, et tulisti preces coram Deo.

[5] For thy iniquity hath taught thy mouth, and thou imitatest the tongue of blasphemers.

Docuit enim iniquitas tua os tuum, et imitaris linguam blasphemantium.

[6] Thy own mouth shall condemn thee, and not I: and thy own lips shall answer thee.

Condemnabit te os tuum, et non ego, et labia tua respondebunt tibi.

[7] Art thou the first man that was born, or wast thou made before the hills?

Numquid primus homo tu natus es, et ante colles formatus?

[8] Hast thou heard God's counsel, and shall his wisdom be inferior to thee?

numquid consilium Dei audisti, et inferior te erit ejus sapientia?

[9] What knowest thou that we are ignorant of? what dost thou understand that we know not?

Quid nosti quod ignoremus? quid intelligis quod nesciamus?

[10] There are with us also aged and ancient men, much elder than thy fathers.

Et senes et antiqui sunt in nobis, multo vetustiores quam patres tui.

[11] Is it a great matter that God should comfort thee? but thy wicked words hinder this.

Numquid grande est ut consoletur te Deus? sed verba tua prava hoc prohibent.

[12] Why doth thy heart elevate thee, and why dost thou stare with thy eyes, as if they were thinking great things?

Quid te elevat cor tuum, et quasi magna cogitans attonitos habes oculos?

[13] Why doth thy spirit swell against God, to utter such words out of thy mouth?

Quid tumet contra Deum spiritus tuus, ut proferas de ore tuo hujuscemodi sermones?

[14] What is man that he should be without spot, and he that is born of a woman that he should appear just?

Quid est homo ut immaculatus sit, et ut justus appareat natus de muliere?

[15] Behold among his saints none is unchangeable, and the heavens are not pure in his sight.

Ecce inter sanctos ejus nemo immutabilis, et caeli non sunt mundi in conspectu ejus.

[16] How much more is man abominable, and unprofitable, who drinketh iniquity like water?

Quanto magis abominabilis et inutilis homo, qui bibit quasi aquam iniquitatem?

[17] I will shew thee, hear me: and I will tell thee what I have seen.

Ostendam tibi, audi me : quod vidi, narrabo tibi.

[18] Wise men confess and hide not their fathers.

Sapientes confitentur, et non abscondunt patres suos :

[19] To whom alone the earth was given, and no stranger hath passed among them.

quibus solis data est terra, et non transivit alienus per eos.

[20] The wicked man is proud all his days, and the number of the years of his tyranny is uncertain.

Cunctis diebus suis impius superbit, et numerus annorum incertus est tyrannidis ejus.

[21] The sound of dread is always in his ears: and when there is peace, he always suspecteth treason.

Sonitus terroris semper in auribus illius : et cum pax sit, ille semper insidias suspicatur.

[22] He believeth not that he may return from darkness to light, looking round about for the sword on every side.

Non credit quod reverti possit de tenebris ad lucem, circumspectans undique gladium.

[23] When he moveth himself to seek bread, he knoweth that the day of darkness is ready at his hand.

Cum se moverit ad quaerendum panem, novit quod paratus sit in manu ejus tenebrarum dies.

[24] Tribulation shall terrify him, and distress shall surround him, as a king that is prepared for the battle.

Terrebit eum tribulatio, et angustia vallabit eum, sicut regem qui praeparatur ad praelium.

[25] For he hath stretched out his hand against God, and hath strengthened himself against the Almighty.

Tetendit enim adversus Deum manum suam, et contra Omnipotentem roboratus est.

[26] He hath run against him with his neck raised up, and is armed with a fat neck.

Cucurrit adversus eum erecto collo, et pingui cervice armatus est.

[27] Fatness hath covered his face, and the fat hangeth down on his sides.

Operuit faciem ejus crassitudo, et de lateribus ejus arvina dependet.

[28] He hath dwelt in desolate cities, and in desert houses that are reduced into heaps.

Habitavit in civitatibus desolatis, et in domibus desertis, quae in tumulos sunt redactae.

[29] He shall not be enriched, neither shall his substance continue, neither shall he push his root in the earth.

Non ditabitur, nec perseverabit substantia ejus, nec mittet in terra radicem suam.

[30] He shall not depart out of darkness: the flame shall dry up his branches, and he shall be taken away by the breath of his own mouth.

Non recedet de tenebris : ramos ejus arefaciet flamma, et auferetur spiritu oris sui.

[31] He shall not believe, being vainly deceived by error, that he may be redeemed with any price.

Non credet frustra errore deceptus, quod aliquo pretio redimendus sit.

[32] Before his days be full he shall perish: and his hands shall wither away.

Antequam dies ejus impleantur peribit, et manus ejus arescent.

[33] He shall be blasted as a vine when its grapes are in the first flower, and as an olive tree that casteth its flower.

Laedetur quasi vinea in primo flore botrus ejus, et quasi oliva projiciens florem suum.

[34] For the congregation of the hypocrite is barren, and fire shall devour their tabernacles, who love to take bribes.

Congregatio enim hypocritae sterilis, et ignis devorabit tabernacula eorum qui munera libenter accipiunt.

[35] He hath conceived sorrow, and hath brought forth iniquity, and his womb prepareth deceits.

Concepit dolorem et peperit iniquitatem, et uterus ejus praeparat dolos.

Commentary:

Ver. 2. Heat. Heb. "east wind," (H.) or give vent to passion. H. --- Eliphaz now rebukes Job without any reserve. C. --- He was perhaps displeased at the comparison used by the latter. C. xiii. 4. Baldad had also hinted that Job's discourse was nothing but wind. C. viii. 2. H. --- Being unable to answer his arguments, he reviles him as an enemy of God. W.

Ver. 3. Equal. God, who is far above thee. Heb. "Will he (the wise) argue with less words, or with speeches which are nothing to the purpose?" C.

Ver. 4. God. Another, after thy example, will assert his own innocence under affliction, and will not fear, nor have recourse to God by humble prayer. Behold the dangerous consequences of thy principle. C.

Ver. 5. Blasphemers. Heb. "of the crafty," which is sometimes taken in a good sense. Sept. "thou hast not distinguished the speeches of the princes." Thou hast not shewn respect to our admonitions, (C.) or understood our meaning. H. --- Thou rather choosest to imitate those false sages, who strive to deceive the world. Abuse could hardly be carried to greater lengths than it is by this man; who before spoke with some moderation. C. iv. C.

Ver. 7. First. Is thy experience so great, (M.) or art thou the most excellent of men? To hear thee we are but novices. C. xiii. 5. C.

Ver. 8. His. Heb. "dost thou restrain wisdom to thyself? Sept. "or has wisdom come to thee?" H.

Ver. 10. Fathers. Heb. and Sept. "father." H. --- Eliphaz always speaks first, and hints that he was as old, perhaps older, than Job; who had rather found fault with the youth of Sophar. C. xii. 12. He also boasts that they, or their country, furnished master of great wisdom and experience than even Job's father. C.

Ver. 11. Thee. This would not be difficult, (T.) if thy presumption did not prove an obstacle. Thou makest small account of those comforts or of our advice, trusting in thy own justice. C. --- Sept. "Thou hast been chastised little, considering thy sins. Thou hast spoken with excessive insolence."

Ver. 12. Why. Sept. "What has thy heart dared, or what have thine eyes brought thee?" Heb. "what do thy eyes wink at?" (H.) through pride and disdain. Ps. xxxiv. 19. Prov. vi. 13. C. --- We need not wonder that Eliphaz should misunderstand the looks of Job, (H.) since he gives such a false notion of his speeches. C.

Ver. 14. Just. Few are free from all spot; but venial sins do not hinder a man from being styled truly virtuous. W.

Ver. 15. Unchangeable, of his own nature, and during this life. C. --- Heb. and Sept. "is not trusted by him," till they have been tried, (H. C. iv. 17. None is good but God alone. Mar. x. 18.) in comparison. T.

Ver. 16. Water, with the utmost avidity and unconcern. Prov. x. 23. and xxvi. 6.

Ver. 17. Seen. He had before given himself out for a prophet. Perhaps he may only mean to deliver what he had been taught, or had learned by experience, v. 18. His observations are in themselves just; but the application to Job is no less insulting. C.

Ver. 18. Wise. Prot. "which wise men have told from their fathers, and have not hid it." C. viii. 8. The authority of tradition was then very great; and why should it now be despised? H.

Ver. 19. Them. Their antiquity, courage, and purity of morals must consequently be greater, as they have preserved themselves from the inroads of strangers. C.

Ver. 20. Proud; uncertain. Heb. "in pain." H. --- Sept. "numbered," or few. Gen. xxxiv. 30. These are the maxims which Eliphaz had received in a vision, or from the ancients, v. 17. The description of a tyrant's life was admirably verified in Dionysius, of Syracuse, (C.) and in our Cromwell, (H.)---

"-----pale and trembling in the dead of night." Pope.

---who rarely lodged two night in one chamber. Clarendon. --- Such live in dread, (H.) and seldom die a natural death.

Ad generum Cereris sine cæde et vulnere pauci

Descendunt reges et siccâ morte Tyranni. Juv. x. 113.

Nocte dieque suum gestare in pectore testem. Juv. xiii.

They bear always about the witness, "conscience." H. --- They distrust every one, and are hated by all.

Districtus ensis cui super impia

Cervice pendet, &c. Hor. iii. Ode 1.

--- These miseries are incident to the wicked, but are improperly addressed to Job. W.

Ver. 26. And is. Heb. "even upon the thick bosses of his buckler." H. --- God thus seizes his antagonist, who, like Pharao, swells with pride. C. Deut. xxxii. 15.

Ver. 28. Heaps, by his ambition and fury, (C.) and exactions, (Cajet. M.) till the king chooses to rebuild the cities. Vatab.

Ver. 31. That he. Heb. and Sept. "for vanity shall be his reward." H. --- If he would repent, he might still be safe. M.

Ver. 32. Hands; strength and prosperity. C. --- Sept. "his branch shall not grow thick." H.

Ver. 33. First. Heb. "unripe." H. --- He shall derive no aid or comfort from his young family.

Ver. 34. Congregation, or family. --- Bribes. Lit. "presents," which H. frequently were not given freely, but extorted as a real tribute. C. - Sept. "for the death of the wicked is a martyrdom," or proof of his impiety. "But fire shall consume the houses of the present (or bribe) receivers."

Ver. 35. Sorrow. Heb. "mischief." H. See Ps. vii. 15. Isai. xlix. 4. - The tree is known by its fruit. Eliphaz sufficiently insinuates, that he is speaking of Job. C. - His, or "its," the congregation's womb, v. 34. Prot. "their belly." H.

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THE BOOK OF ESTHER - From The Douay-Rheims Bible - Latin Vulgate

Chapter 14

INTRODUCTION.

This Book takes its name from queen Esther; whose history is here recorded. The general opinion of almost all commentators on the Holy Scripture, make Mardochai the writer of it: which also may be collected below from C. ix. 20. Ch. --- He and the queen were certainly authors of the letter, (H.) enjoining the celebration of the feast of Purim, or "lots," which is the ground-work (C.) of the present narration. D. --- The compiler has also had recourse to the archives of the kingdom of Persia: so that his work has all the authority that can be required of a profane historian; and being moreover inspired in all its parts, we cannot refuse to receive it with the utmost respect. Those additions which are not now in Hebrew, (C.) though they were perhaps formerly, (W. Origen. D.) have been carefully preserved by S. Jerom, and were recognized by the ancient Vulg. as they are at present by the Greek, without any distinction. Lysimachus, the Greek translator, was probably the author of them. C. xi. 1. C. --- The objections of Capellus against this "Greek scribbler," as he is pleased to style him, despising the judgment of both Jews and Christians, are in general very unaccountably borrowed (H.) from the Latin version, and are easily refuted. Houbigant. --- Those Jews, who have rejected this work entirely, with Melito, (Eus. Hist. iv. 26. S. Greg. Naz. &c.) ought not to prevail against the consent of the majority, (C.) expressed in the Councils of Laodicea, Carthage, Trent, sess. 4, &c. To read this book according to the order of time, we should begin C. xi. v. 2, &c. C. i. ii. and xii. and iii. to v. 14; then we find the distress of the Jews in the rest of that chapter, and in C. xiii. to v. 8, and their delivery in C. iv. to ix. v. 17, and C. xiii. v. 8, &c. and C. xiv. xv. and xvi. The consequences of these events are recorded C. ix. v. 17, &c. to C. xi. 1. (W.) with which verse the book ends, in the Greek editions. H. --- They vary considerably, as did the copies of the ancient Vulgate, which called forth the complaints of S. Jerom, Pref. But the Church has distinguished what was spurious from the genuine word of God; so that the doubts of Lyran, Sixtus, (Bib. viii.) &c. respecting the fragments at the end of the book being not canonical, ought no longer to be indulged; much less can the boldness of many Lutherans, (C.) and particularly of Le Clerc, (Houbigant) be tolerated, who represent the whole work as a mere fiction. The Jews have a greater respect for it than for any of the prophets; whose works, they say, will perish at the coming of the Messias: whereas this will subsist with the books of Moses, and the feast of Purim will never be abolished. C. ix. 28. Maimon. --- Ben. Gorion (ii. 2.) admits the additions. But Josephus is silent about them, as he probably did not find them in his copy. C. --- He recites, however, both the epistles of Assuerus. Ant. xi. 6. D. --- It is not agreed whether these events happened before or after the captivity. But it is now most commonly supposed, that Esther was married to Darius Hystaspes, A. 3489, about the time of the dedication of the temple. C. xiv. 9. He had been on the throne six years, and reigned other thirty. See Herod. vii. 4. C. --- Josephus thinks that Esther was the queen of Artaxerxes Longimanus, who was a great friend of the Jews. D. --- The Thalmud attributes this work to the great Synagogue, consisting of Esdras, Mardochai, Joachim, &c. and, as various persons might write the same history, the Greek, with the additions, seems to be taken from one copy, and the Hebrew from another rather more concise, (Huet. D.) but equally inspired. H.

Verses are in English and Latin.

HAYDOCK CATHOLIC BIBLE COMMENTARY

TRANSCRIBER'S NOTES

Changes made to the original text for this transcription include the following:

Accent marks. The original text contains some English letters represented with accent marks. In this transcription, those letters have been rendered in this transcription without their accent marks.

Other special characters.

Solid horizontal lines of various lengths that appear in the original text have been represented as a series of consecutive hyphens of approximately the same length, such as ---.

The half symbol (1/2) and three-quarters symbol (3/4) in the original text have been represented in this transcription with their decimal equivalent, (.5) and (.75) respectively.

Unreadable text. Places where the transcriber's copy of the original text is unreadable have been indicated in this transcription by an empty set of square brackets, [].

Chapter 14

The prayer of Esther for herself and her people.

[1] Queen Esther also, fearing the danger that was at hand, had recourse to the Lord.

Esther quoque regina confugit ad Dominum, pavens periculum, quod imminebat.

[2] And when she had laid away her royal apparel, she put on garments suitable for weeping and mourning: instead of divers precious ointments, she covered her head with ashes and dung, and she humbled her body with fasts: and all the places in which before she was accustomed to rejoice, she filled with her torn hair.

Cumque deposuisset vestes regias, fletibus et luctui apta indumenta suscepit, et pro unguentis variis, cinere et stercore implevit caput, et corpus suum humiliavit jejuniis : omniaque loca, in quibus antea laetari consueverat, crinium laceratione complevit.

[3] And she prayed to the Lord the God of Israel, saying: O my Lord, who alone art our king, help me a desolate woman, and who have no other helper but thee.

Et deprecabatur Dominum Deum Israel, dicens : Domine mi, qui rex noster es solus, adjuva me solitariam, et cujus praeter te nullus est auxiliator alius.

[4] My danger is in my hands.

Periculum meum in manibus meis est.

[5] I have heard of my father that thou, O Lord, didst take Israel from among all nations, and our fathers from all their predecessors, to possess them as an everlasting inheritance, and thou hast done to them as thou hast promised.

Audivi a patre meo quod tu, Domine, tulisses Israel de cunctis gentibus, et patres nostros ex omnibus retro majoribus suis, ut possideres haereditatem sempiternam, fecistique eis sicut locutus es.

[6] We have sinned in thy sight, and therefore thou hast delivered us into the hands of our enemies:

Peccavimus in conspectu tuo, et idcirco tradidisti nos in manus inimicorum nostrorum :

[7] For we have worshipped their gods. Thou art just, O Lord.

coluimus enim deos eorum. Justus es Domine :

[8] And now they are not content to oppress us with most hard bondage, but attributing the strength of their hands to the power of their idols,

et nunc non eis sufficit, quod durissima nos opprimunt servitute, sed robur manuum suarum, idolorum potentiae deputantes,

[9] They design to change thy promises, and destroy thy inheritance, and shut the mouths of them that praise thee, and extinguish the glory of thy temple and altar,

volunt tua mutare promissa, et delere haereditatem tuam, et claudere ora laudantium te, atque extinguere gloriam templi et altaris tui,

[10] That they may open the mouths of Gentiles, and praise the strength of idols, and magnify for ever a carnal king.

ut aperiant ora gentium, et laudent idolorum fortitudinem, et praedicent carnalem regem in sempiternum.

[11] Give not, O Lord, thy sceptre to them that are not, lest they laugh at our ruin: but turn their counsel upon themselves, and destroy him that hath begun to rage against us.

Ne tradas, Domine, sceptrum tuum his, qui non sunt, ne rideant ad ruinam nostram : sed converte consilium eorum super eos, et eum, qui in nos coepit saevire, disperde.

[12] Remember, O Lord, and shew thyself to us in the time of our tribulation, and give me boldness, O Lord, king of gods, and of all power:

Memento Domine, et ostende te nobis in tempore tribulationis nostrae, et da mihi fiduciam, Domine rex deorum, et universae potestatis :

[13] Give me a well ordered speech in my mouth in the presence of the lion, and turn his heart to the hatred of our enemy, that both he himself may perish, and the rest that consent to him.

tribue sermonem compositum in ore meo in conspectu leonis, et transfer cor illius in odium hostis nostri, ut et ipse pereat, et ceteri, qui ei consentiunt.

[14] But deliver us by thy hand, and help me, who have no other helper, but thee, O Lord, who hast the knowledge of all things.

Nos autem libera manu tua, et adjuva me, nullum aliud auxilium habentem, nisi te, Domine, qui habes omnium scientiam,

[15] And thou knowest that I hate the glory of the wicked, and abhor the bed of the uncircumcised, and of every stranger.

et nosti quia oderim gloriam iniquorum, et detester cubile incircumcisorum, et omnis alienigenae.

[16] Thou knowest my necessity, that I abominate the sign of my pride and glory, which is upon my head in the days of my public appearance, and detest it as a menstruous rag, and wear it not in the days of my silence,

Tu scis necessitatem meam, quod abominer signum superbiae et gloriae meae, quod est super caput meum in diebus ostentationis meae, et detester illud quasi pannum menstruatae, et non portem in diebus silentii mei,

[17] And that I have not eaten at Aman's table, nor hath the king's banquet pleased me, and that I have not drunk the wine of the drink offerings:

et quod non comederim in mensa Aman, nec mihi placuerit convivium regis, et non biberim vinum libaminum :

[18] And that thy handmaid hath never rejoiced, since I was brought hither unto this day, but in thee, O Lord, the God of Abraham.

et numquam laetata sit ancilla tua, ex quo huc translata sum usque in praesentem diem, nisi in te, Domine Deus Abraham.

[19] O God, who art mighty above all, hear the voice of them, that have no other hope, and deliver us from the hand of the wicked, and deliver me from my fear.

Deus fortis super omnes, exaudi vocem eorum, qui nullam aliam spem habent, et libera nos de manu iniquorum, et erue me a timore meo.

Commentary:

Ver. 1. Fearing. Gr. "caught in the agony of death." The old Vulgate has many variations in this chapter. C. --- This prayer should be placed after that of Mardochai, at the end of C. iv. M.

Ver. 2. Ointments. Gr. "instead of the proud sweets, she filled her head with ashes and dust." Such as might be soon cleansed again. H. --- Torn. Gr. "curled hair," (straptwn trichwn. H.) some of which she cut off. See Lev. xix. 27. and xxi. 5. Houbig.

Ver. 4. Hands; very imminent. I am ready to expose my life. Ps. cxviii. 109. C.

Ver. 5. Heard. Old Vulg. often repeats, "from the books of my fathers;" adducing the various instances of protection which God had shewn to his people, Noe, Abraham, Jonas, the three children, Daniel, Ezechias, and Anna: which intimates that Esther made the sacred books the subject of her frequent meditations, as good people ought to do. H.

Ver. 7. For. Gr. "since we have extolled," &c. Esther had not been guilty herself of this prevarication; but too many of the people had. H.

Ver. 8. But. Gr. Compl. "Yea, thou hast placed (or rather as the Alex. MS. reads, they have placed) their hands upon the hands of their idols, (H. making league together. C.) to tear away the decree of thy mouth," (H.) and to put in execution the projects of (M.) the devil. H.

Ver. 10. Idols. Gr. "of the vain things, and to render wonderful for ever," &c.

Ver. 11. Not idols, as they are often here designated, (C. and 1 Cor. viii.) being only the imaginations of men. W. --- Destroy. Gr. "Make an example of the man, who had begun (H. evils. C.) against us." H. --- She throws the blame upon Aman, and not upon her husband. C.

Ver. 12. Gods. Gr. "nations, and Lord of all power." H.

Ver. 13. Lion. This expression seems not sufficiently respectful. Capellus. --- But why might not Esther use it with regard to one, who was raging against her people more than any lion, as S. Paul applies it to Nero, probably after her example? Houbigant. 2 Tim. iv. 17. --- David also thus styles Saul and his persecutors in general. Ps. vii. 3. &c. C.

Ver. 15. Stranger. Only those near Chanaan were forbidden to marry; and S. Paul commends Eunice, who had espoused an infidel. Capel. --- But this was not the reason of his commendation; for he ordains, Bear not the yoke with infidels. A pious woman might, therefore, very well refrain from such contracts, to which the Jews, at this time, were in a manner forced. Still Esther might have a conjugal love for her husband, (Houbig.) though she would have preferred to marry one poorer of her own religion; and here she only submitted to the designs of God, in raising her to such an elevated station. M.

Ver. 16. Sign. The diadem. It was no sin to wear it. Capel. --- What then? May not a pious prince despise such ornaments, raising his mind above them? Houbig. --- Silence, when I am alone. Nothing could give us a higher idea of Esther's virtue and greatness of soul, as her elevation did not make her forget herself. C.

Ver. 17. Me. Ought she to have been thus affected towards her husband? Capel. - Undoubtedly: as the meats and the wine had been offered to idols. Houbig.

#book of esther

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