The Defining Verse

“Scripture frequently sums up a man’s life in a single sentence.” – Charles Spurgeon Inspired by the great preacher Charles Spurgeon, Warren Wiersbe launched a personal study of the lives of prominent Bible characters. Interested in more than biographical facts, Wiersbe sought out the themes of each person’s life as reflected in the pages of Scripture. How does the Bible summarize this person’s life? What is the key to understanding his or her character? How do I see my own life reflected in the life of this person? The Defining Verse takes you into the lives of sixty-three Biblical men and women who encountered an extraordinary God. For each, Wiersbe identifies a Scripture verse that sums up that individual’s life and then reflects on the lessons to be learned, both positive and negative. Now including a personal study for personal self-reflection, you will not only be challenged by these examples, you will be stimulated to consider what your “life sentence” will be. Previously released under the title Life Sentences.

The Life Verse experience helps readers see the broad themes of Scripture and overlay them on the themes of their own lives. From there, author David Edwards invites readers deeper into Scripture to find their personal life verse and to understand the richness of its context and the fullness of its application. Finally, readers learn how to use their life verse in sharing Christ with others. This compelling experience helps readers learn to see the Bible thematically, read it personally, and share Christ in a natural and biblical manner, while finding their true identity in God’s Word. This book will help you Discern where you’re at, Discover that life verse, Develop the life verse, go Deeper with the verse.

This book examines the most salient and misunderstood aspect of twentieth-century poetry, free verse. Although the form is generally approached as if it were one indissoluble lump, it is actually a group of differing poetic genres proceeding from much different assumptions. Separate chapters on T.S. Eliot, Wallace Stevens, H.D., and William Carlos Williams elucidate many of these assumptions and procedures, while other chapters address more general theoretical questions and trace the continuity of Modern poetics in contemporary poetry. Taking a historical and aesthetic approach, this study demonstrates that many of the forms considered to have been invented in the Modern period actually extend underappreciated traditions. Not only does this book examine the classical influence on Modern poetry, it also features discussions of the poetics of John Milton, Abraham Cowley, Matthew Arnold, and a host of lesser-known poets. Throughout it is an investigation of the prosodic issues that free verse foregrounds, particularly those focusing on the reader's part in interpreting poetic rhythm.

Throughout history, the verse novel has persisted as a modest but noteworthy literary subgenre, from classic works like Eugene Onegin to contemporary volumes by Vikram Seth, Dorothy Porter, and Derek Walcott. In particular, the verse novel has emerged as a popular form for young adult readers, such as the Newbery Medal winner Out of the Dust by Karen Hesse. As this unique form continues to flourish, it merits closer examination. In The Verse Novel in Young Adult Literature, Brenna Friesner explores both the history and current use of the verse novel in teen fiction. Examining more than 220 titles written over the last few decades, Friesner discusses the verse novel’s evolution, analyzes key works, and considers how these novels can grapple with content that distinguishes them from traditional fiction. Though this study includes volumes written throughout history, its focus on contemporary novels further demonstrates the form’s relevance for today’s teens. By explaining its current popularity, this book acknowledges the verse novel’s potential to provide accessible, authentic stories for young adults to enjoy. The Verse Novel in Young Adult Literature will be of interest to librarians and teachers, as well as anyone wanting to learn more about this burgeoning aspect of young adult literature.

There is to date no comprehensive account of the rhythms of free verse. The main purpose of A Prosody of Free Verse: explorations in rhythm is to fill that gap and begin to provide a systematic approach to describing and analyzing free verse rhythms. Most studies have declared the attempt to write such a prosody as impossible: they prefer to see free verse as an aberrant version of regular metrical verse. They also believe that behind free verse is the ‘ghost of metre’. Running against that current, A Prosody of Free Verse bases its new system on additive rhythms that do not fit conventional time signatures. Inspiration is taken from jazz, contemporary music and dance, not only in their systems of notation but in performance. The book argues that twentieth and twenty-first century rhythms in poetry as based on the line rather than the metrical foot as the unit of rhythm , and that larger rhythmic structures fall into verse paragraphs rather than stanzas.

Through its recovery of the metrical principles underlying the work of some of the century's major poets, this study highlights the intricacy of the relation between the 'music' of verse and its meaning, and helping us to understand the way in which the ferment of metrical experiment eventually led to the emergence of free verse.

When we overlook Paul's letters to the Thessalonians, we miss out. Paul's letters to the church in Thessalonica are often considered two of the less important of his letters, but they were written to a very important city with very important issues. In addition to addressing the issue of Christ's return and the problem of people who refused to work, these letters model a truly loving relationship between a pastor and a congregation. In 1 & 2 Thessalonians Verse by Verse, respected New Testament scholar Grant R. Osborne shows us that in a world that centered on the divinity of the emperor and the demands to participate in the worship of the gods, the Thessalonians desperately needed to be given resources that would help them withstand the pressure to conform. These letters provide us with a thrilling example of affection among believers in extremely hard times and help us see how that affection can make severe trials bearable. The Osborne New Testament Commentaries, by respected professor and author Grant R. Osborne, are for people seeking a straightforward explanation of the text in its context, avoiding either oversimplification or technical complexity. Osborne brings out the riches of the New Testament, making each book accessible for pastors and all who consider themselves students of Scripture.

In contrast to other works, the linguistic approach to rhythm presented in this book does not start from decontextualized structures but from performance data in a bottom-up fashion. Drawing on Halliday's distinction between wording, writing, and sounding, the proposed model takes account of several levels of abstraction. Important categories for data analysis are syllable rhythm and accent rhythm, which interact to establish prominence patterns (peaks and valleys) that can be observed in spontaneous and prepared speech, readings and recitals. Excluding subjective factors of analysis, the new model offers a tool to describe the rhythmic potential of prose and verse and to evaluate rhythmic performances of reading and reciting.

The present age has seen an explosion of verse novels in many parts of the world. Australia is a prolific producer, as are the USA and the UK. Novels in verse have also appeared in Canada, New Zealand, India, South Africa, Jamaica and several other countries. A novel written in verse contradicts theories that distinguish the novel as essentially a prose genre. The boundaries of prose and verse are, however, somewhat fluid. This is especially evident in the case of free verse poetry and the kinds of prose used in many Modernist novels. The contemporary outburst may seem a uniquely Postmodernist flouting of generic boundaries, but, in fact, the verse novel is not new. Its origins reach back to at least the eighteenth century. Byron’s Don Juan, in the early nineteenth century, was an important influence on many later examples. Since its first surge in popularity during the Victorian era, it has never died out, though some fine examples, most of them from the earlier twentieth century, have been neglected or forgotten. This book investigates the status of the verse novel as a genre and traces its mainly English-language history from its beginnings. The discussion will be of interest to genre theorists, prosodists, narratologists and literary historians, as well as readers of verse novels wishing for some background to this apparently new literary phenomenon.