The Brittingham Prize in Poetry Winner of the 1996 Great Lakes Colleges Association New Writers Award Winner of the 1995 Norma Farber First Book Award "A radiance and clarity suffuses Lynn Powell's work." --Carolyn Kizer, Brittingham Prize Citation -------------------------------------------------------------------------------- "In Lynn Powell's poems we rediscover the meaning of the word 'testament,' for they give us a full testimony of a life, a family, a world. Whether writing of grief, or The Rapture, of a junebug or Aunt Roxy at the age of one hundred, she brings us intense, crafted narratives of self­knowledge, of facts so vivid they are painful, becoming signs and also wonders of life. These are poems of the recovery of spiritual desire. This is an extraordinary book, and an extraordinary new talent."--Robert Morgan "These direct, loving, sober poems are the change we need from most recent verse. The intensity of the opening poems in Old & New Testaments builds throughout the book until, almost intolerable, it transforms into profound acceptance, the quietness that comes of acknowledging both life and death. These images and rhythms need no persuasiveness beyond themselves, brightening our spirits with the clarity of reality."--A. R. Ammons "Lynn Powell's Old & New Testaments is a reclaiming of spiritual texts and traditions for a woman's life in the body--a life of childhood physicality, female sexuality, procreation, and nurturing love. Playful, tender, and wise, Powell brings her gospel learning down to earth. We can hail her poems in an old phrase with a new meaning: they are full of grace."--Alicia Ostriker Lynn Powell was raised in East Tennessee and educated at Carson-Newman College and Cornell University. She has worked extensively as a writer in the schools for the Tennessee Arts Commission, the New Jersey State Council for the Arts, the Geraldine R. Dodge Foundation, and currently, the Ohio Arts Council. Her poems have appeared in The Paris Review, Poetry, The Gettysburg Review, and other journals. She lives in Oberlin, Ohio.

Religious piety has rarely been animated as vigorously as in Old English Poems of Christ and His Saints. Ranging from lyrical to dramatic to narrative, the individual poems show great inventiveness in reimagining perennial Christian topics. In different poems, for example, Christ expels Lucifer from heaven, resists the devil's temptation on earth, mounts the cross with zeal to face death, harrows hell at the urging of John the Baptist, appears in disguise to pilot a ship, and presides over the Last Judgment. Satan and the fallen angels lament their plight in a vividly imagined hell and plot against Christ and his saints.

In Andreas the poet relates, in language reminiscent of Beowulf, the tribulations of the apostles Andrew and Matthew in a city of cannibals. In The Vision of the Cross (also known as The Dream of the Rood), the cross speaks as a Germanic warrior intolerably torn between the imperative to protect his Lord and the duty to become his means of execution. In Guthlac A, an Anglo-Saxon warrior abandons his life of violence to do battle as a hermit against demons in the fens of Lincolnshire. As a collection these ten anonymous poems vividly demonstrate the extraordinary hybrid that emerges when traditional Germanic verse adapts itself to Christian themes.

Old English Poems of Christ and His Saints complements the saints' lives found in The Old English Poems of Cynewulf, DOML 23.

The Latin psalms figured prominently in the lives of the Anglo-Saxons, whether sung in the Divine Office by clerics, studied as a textbook for language learning by students, or recited in private devotion by lay people. They were also translated into Old English, first in prose and later in verse. Sometime in the middle of the eleventh century, the prose and verse translations were brought together and organized in a complementary sequence in a manuscript now known as the Paris Psalter. The prose version, traditionally attributed to King Alfred (d. 899), combines literal translation with interpretative clarification. In contrast, the anonymous Old English verse translation composed during the tenth century approaches the psalms in a spirit of prayer and devotion. Despite their differences, both reflect earnest attempts to capture the literal meaning of the psalms.

The complete text of all 150 prose and verse psalms is available here in contemporary English for the first time. With this translation readers encounter the beginnings and the continuation of a long tradition of psalm renderings in English.

In 1490/92 Marsilio Ficino, the Florentine scholar-philosopher-magus who was largely responsible for the Renaissance revival of Plato, made new translations of, with running commentaries on, two treatises he believed were the work of Dionysius the Areopagite, the disciple of St. Paul mentioned in the Acts of the Apostles. His aim was to show how these two treatises (in fact the achievement of a sixth-century Christian follower of the Neoplatonist Proclus) had inspired pagan thinkers in the later Platonic tradition like Plotinus and Iamblichus. These major products of fifteenth-century Christian Platonism are here presented in new critical editions accompanied by English translations, the first into any modern language.

In 1490/92 Marsilio Ficino, the Florentine scholar-philosopher-magus who was largely responsible for the Renaissance revival of Plato, made new translations of, with running commentaries on, two treatises he believed were the work of Dionysius the Areopagite, the disciple of St. Paul mentioned in the Acts of the Apostles. His aim was to show how these two treatises (in fact the achievement of a sixth-century Christian follower of the Neoplatonist Proclus) had inspired pagan thinkers in the later Platonic tradition like Plotinus and Iamblichus. These major products of fifteenth-century Christian Platonism are here presented in new critical editions accompanied by English translations, the first into any modern language.

An enduring theme of Western philosophy is that we are all one another’s equals. Yet the principle of basic equality is woefully under-explored in modern moral and political philosophy. In a major new work, Jeremy Waldron attempts to remedy that shortfall with a subtle and multifaceted account of the basis for the West’s commitment to human equality.

What does it mean to say we are all one another’s equals? Is this supposed to distinguish humans from other animals? What is human equality based on? Is it a religious idea, or a matter of human rights? Is there some essential feature that all human beings have in common? Waldron argues that there is no single characteristic that serves as the basis of equality. He says the case for moral equality rests on four capacities that all humans have the potential to possess in some degree: reason, autonomy, moral agency, and the ability to love. But how should we regard the differences that people display on these various dimensions? And what are we to say about those who suffer from profound disability—people whose claim to humanity seems to outstrip any particular capacities they have along these lines?

Waldron, who has worked on the nature of equality for many years, confronts these questions and others fully and unflinchingly. Based on the Gifford Lectures that he delivered at the University of Edinburgh in 2015, One Another’s Equals takes Waldron’s thinking further and deeper than ever before.

“How I wept at your hymns and songs, keenly moved by the sweet-sounding voices of your church!” wrote the recently converted Augustine in his Confessions. Christians from the earliest period consecrated the hours of the day and the sacred calendar, liturgical seasons and festivals of saints. This volume collects one hundred of the most important and beloved Late Antique and Medieval Latin hymns from Western Europe.

These religious voices span a geographical range that stretches from Ireland through France to Spain and Italy. They meditate on the ineffable, from Passion to Paradise, in love and trembling and praise. The authors represented here range from Ambrose in the late fourth century ce down to Bonaventure in the thirteenth. The texts cover a broad gamut in their poetic forms and meters. Although often the music has not survived, most of them would have been sung. Some of them have continued to inspire composers, such as the great thirteenth-century hymns, the Stabat mater and Dies irae.

The One Thomas More carefully studies the central humanist and polemical texts written by More to illustrate a coherent development of thought.