[87892] in Discussion of MIT-community interests
This Miracle KILLS Diabetes
daemon@ATHENA.MIT.EDU (Diabetes Reversed)
Thu Sep 1 11:00:07 2016
Date: Thu, 1 Sep 2016 10:49:55 -0400
From: "Diabetes Reversed" <diabetes_reversed@moreonline.stream>
To: <mit-talk-mtg@charon.mit.edu>
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At the link below, we' re going to REVEAL to you
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<span class=3D"Apple-converted-space"> </span>
<span class=3D"il" style=3D"color: rgb(34, 34, 34); backgrou=
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<span class=3D"Apple-converted-space"> </span>your
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<span class=3D"il" style=3D"color: rgb(34, 34, 34); backgrou=
nd: rgb(255, 255, 204)">diabetes</span>
<span class=3D"Apple-converted-space"> </span>and get back =
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<p>You will also discover why your<span class=3D"Apple-converted-=
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erted-space"> </span>drugs DON' T work and how you have been LIED to =
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n class=3D"Apple-converted-space"> </span>Your<span class=3D"Apple-co=
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34); background: rgb(255, 255, 204)">Diabetes</span></a></strong><br =
/> (Doctor Approved Method)<br /> </p>=20
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<p>This Miracle KILLS Diabetes<br /> I waited some days after the arriva=
l of your Book and Letter, thinking I might be able to say more of my sense=
of your goodness: but I can do no more now than a week ago. You " hop=
e I shall not find too much to disapprove of" : what I ought to protes=
t against, is " a load to sink a navy -- too much honor" : how ca=
n I put aside your generosity, as if cold justice -- however befitting myse=
lf -- would be in better agreement with your nature? Let it remain as an as=
surance to younger poets that, after fifty years' work unattended by any co=
nspicuous recognition, an over-payment may be made, if there be such anothe=
r munificent appreciator as I have been privileged to find, in which case l=
et them, even if more deserving, be equally grateful. I have not observed a=
nything in need of correction in the notes. The " little Tablet" =
was a famous " Last Supper" , mentioned by Vasari, (page. 232), a=
nd gone astray long ago from the Church of S. Spirito: it turned up, accord=
ing to report, in some obscure corner, while I was in Florence, and was at =
once acquired by a stranger. I saw it, genuine or no, a work of great beaut=
y. (Page 156.) " A canon" , in music, is a piece wherein the subj=
ect is repeated -- in various keys: and being strictly obeyed in the repeti=
tion, becomes the " Canon" -- the imperative law -- to what follo=
ws. Fifty of such parts would be indeed a notable peal: to manage three is =
enough of an achievement for a good musician. And now, -- here is Christmas=
: all my best wishes go to you and Mrs Corson. Those of my sister also. She=
was indeed suffering from grave indisposition in the summer, but is happil=
y recovered. I could not venture, under the circumstances, to expose her co=
nvalescence to the accidents of foreign travel: hence our contenting oursel=
ves with Wales rather than Italy. Shall you be again induced to visit us? P=
resent or absent, you will remember me always, I trust, as Yours most affec=
tionately Robert Browning. " Quanta subtilitate ipsa corda hominum res=
erat, intimos mentis recessus explorat, varios animi motus perscrutatur. Qu=
od ad tragoediam antiquiorem attinet, interpretatus est, uti nostis omnes, =
non modo Aeschylum quo nemo sublimior, sed etiam Euripidem quo nemo humanio=
r; quo fit ut etiam illos qui Graece nesciunt, misericordia tangat Alcestis=
, terrore tangat Hercules. Recentiora argumenta tragica cum lyrico quodam s=
cribendi genere coniunxit, duas Musas et Melpomenen et Euterpen simul vener=
atus. Musicae miracula quis dignius cecinit? Pictoris Florentini sine fraud=
e vitam quasi inter crepuscula vesperascentem coloribus quam vividis depinx=
it. Vesperi quotiens, dum foco adsidemus, hoc iubente resurgit Italia. Vesp=
eri nuper, dum huius idyllia forte meditabar, Cami inter arundines mihi vid=
ebar vocem magnam audire clamantis, Pa\n o` me/gas ou' te/qnhken. Vivit adh=
uc Pan ipse, cum Marathonis memoria et Pheidippidis velocitate immortali co=
nsociatus." -- Eulogium pronounced by Mr. J. E. Sandys, Public Orator =
at the University of Cambridge, on presenting Mr. Browning for the honorary=
degree of Doctor of Laws, June 10, 1879. PREFACE. The purpose of the prese=
nt volume is to afford some aid and guidance in the study of Robert Brownin=
g' s Poetry, which, being the most complexly subjective of all English poet=
ry, is, for that reason alone, the most difficult. And then the poet' s fav=
orite art-form, the dramatic, or, rather, psychologic, monologue, which is =
quite original with himself, and peculiarly adapted to the constitution of =
his genius and to the revelation of themselves by the several " dramat=
is personae" , presents certain structural difficulties, but difficult=
ies which, with an increased familiarity, grow less and less. The expositio=
n presented in the Introduction, of its constitution and skilful management=
, and the Arguments given of the several poems included in the volume, will=
, it is hoped, reduce, if not altogether remove, the difficulties of this k=
ind. In the same section of the Introduction, certain peculiarities of the =
poet' s diction, which sometimes give a check to the reader' s understandin=
g of a passage, are presented and illustrated. I think it not necessary to =
offer any apology for my going all the way back to Chaucer, and noting the =
Ebb and Flow in English Poetry down to the present time, of the spiritualit=
y which constitutes the real life of poetry, and which should, as far as po=
ssible, be brought to the consciousness and appreciation of students. What =
I mean by spirituality is explained in my treatment of the subject. The deg=
ree to which poetry is quickened with it should always enter into an estima=
te of its absolute worth. It is that, indeed, which constitutes its absolut=
e worth. The weight of thought conveyed, whatever that be, will not compens=
ate for the absence of it. The study of poetry, in our institutions of lear=
ning, so far as I have taken note of it, and the education induced thereby,=
are almost purely intellectual. The student' s spiritual nature is left to=
take care of itself; and the consequence is that he becomes, at best, only=
a thinking and analyzing machine. The spiritual claims of the study of poe=
try are especially demanded in the case of Browning' s poetry. Browning is =
generally and truly regarded as the most intellectual of poets. No poetry i=
n English literature, or in any literature, is more charged with discursive=
thought than his. But he is, at the same time, the most spiritual and tran=
scendental of poets, the " subtlest assertor of the Soul in Song"=
. His thought is never an end to itself, but is always subservient to an u=
lterior spiritual end -- always directed towards " a presentment of th=
e correspondency of the universe to Deity, of the natural to the spiritual,=
and of the actual to the ideal" ; and it is all-important that studen=
ts should be awakened, and made, as far as possible, responsive to this spi=
ritual end. The sections of the Introduction on Personality and Art were re=
ad before the Browning Society of London, in June, 1882. I have seen no rea=
son for changing or modifying, in any respect, the views therein expressed.=
The idea of personality as a quickening, regenerating power, and the idea =
of art as an intermediate agency of personality, are, perhaps, the most rei=
terated (implicitly, not explicitly) in Browning' s poetry, and lead up to =
the dominant idea of Christianity, the idea of a Divine Personality; the id=
ea that the soul, to use an expression from his earliest poem, `Pauline' , =
must " rest beneath some better essence than itself in weakness" =
The notes to the poems will be found, I trust, to cover all points and fe=
atures of the text which require explanation and elucidation. I have not, a=
t any rate, wittingly passed by any real difficulties. Whether my explanati=
ons and interpretations will in all cases be acceptable, remains to be seen=
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