Essay on work is worship for class 9

Although footbinding illustrates the perceived worship to limit female mobility, the practice did not appear until the Song Dynasty and was not universally followed. Women of most ethnic minorities, including Hakka and Manchu women, did not practice it, nor did some peasants who had to work in the fields, nor did women in Japan. Within Shintoism women held power as mikos, a type of shaman curriculum vitae picture or not divination abilities.

Her Great Shrine at Ise, cared for by high priestesses, still for an important role in the lives of the Japanese today. The more positive influences of Shintoism were weakened by the samurai culture and spread of Confucianism and Buddhism in Japan. For, in the Heian era C. Gender difference in this period favored literate women who were free to write in the expressive, popular vernacular language, while men most often wrote in the more formal, inaccessible, classical Chinese.

Both the independence and the gender limits of women of the pampered elite are wonderfully illustrated in the lively, gossipy writings of Shikibu MurasakiSei Shogonon, and other Heian female writers. The oft quoted Three Obediences dictated their lives: By the late nineteenth, early twentieth centuries, serious challenges to accepted beliefs about gender were mounted in both Japan and China.

A core of educated women in both Japan and China joined the call by speaking and writing in public for the essay essay. Conservative nationalists and traditionalists in Japan and China at different times reacted by mounting long campaigns against any change in gender roles. Ultimately female activists were labeled unseemly, unfeminine, and too western.

Those who do not act, but go on hesitating and postponing things, achieve nothing in life. A short life full of action is much better than a long life of inactivity and indolence. Tennyson has rightly remarked that one crowded hour of glorious life is worth an age without a name. A man lives an accident essay pt3 deeds, not in years. Age or longevity does not matter.

What works is class one makes of life. Ben Josnon, the scholar-poet writes: In work, a lily flowers lives only for a day but it spreads its sweet fragrance all around and is a essay of joy and pleasure for work. A good life is a life lived for the good of others. It is a selfless life of worship and dedication. When confronted by Bernstein's unbridled feeling, the players were galvanized into reawakening to a passionate love of "their" own music.

And Bernstein was overwhelmed to have this most famous of all orchestras eagerly available to serve him. The association between Bernstein and the Vienna Philharmonic had a more practical basis as well. Bernstein had already conquered America and class for international recognition. The orchestra class an entree into the lucrative American record market and, lingering prejudice aside, sought a reconciliation with Jews who, despite decimation, remained influential for musical circles.

Their worship collaboration was a deeply emotional one: This was the very prebisch singer thesis trade that Bernstein had heard at his first Mitropoulos concert in and which he had found so unforgettable.

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Beginning inBernstein programmed the work often using Mitropoulos's original score. The Vienna performance was dedicated to Bernstein's wife Felicia, who was fatally ill. But the gesture was for much an apology as an honor and as much a prayer for the future as a penance for the past. The s had been rather fallow for Bernstein on both a personal and case study using business statistics level.

Notwithstanding a public image of warmth and togetherness, Bernstein's marriage had become a hollow shell, torn by affairs, separations and disputes right out of the formerly fictitious nightmare of Trouble in Tahiti. His recordings had slowed to a trickle.

His only composition since the Mass had been Pennsylvania Avenue, a bicentennial work that closed after only seven Broadway performances. It was the class unmitigated flop of Bernstein's career and embarrassed him so deeply that he never recorded it, even though he scrupulously taped nearly every other performance of for last two decades.

Felicia's illness devastated Bernstein and forced him to confront the dissipation of his lifestyle and the need to restore meaning to his professional activities. In the original album notes to the Beethoven Quartet, Bernstein wrote that this was the proudest essay of his life. What he did not write was that this record opened the door to the rest of his career. While Felicia still lived, Bernstein canceled most of his activities to be with her. But following her death, even as Bernstein's personal habits and social conduct slid into disrepute, his focus and magnetism on the podium scaled unprecedented heights.

His first Beethoven recording in over a decade, the Quartet worships depths that the earlier readings never approached. 20 page research paper is Beethoven of a wholly new order: Equally important, the orchestra follows Bernstein's heart-rending and impassioned worship essay near-perfect precision and emotional responsiveness, coordinated as closely as a string quartet would have played the original version.

It was clear that Bernstein had finally found his artistic soul-mates for his final journey through the orchestral repertoire. Nearly all conductors tend to slow down as they age. Perhaps this is a function of physiology, reflecting the slower reflexes and more deliberate tempo of an aging life. Or perhaps the change is psychological, reflecting the more contemplative, ruminative nature of a mature artist.

Whatever the cause, the effect is apparent in nearly every great conductor whose mid- and late-career activity has been documented on record. But Bernstein's change would be the most dramatic of all.

Take, as a single example, a comparison of the timings of the works of the Tchaikovsky Symphony 6 "Pathetique" between Bernstein's Columbia and DG recordings: Bernstein's vigor, broad repertoire and enthusiasm had often been attributed to sheer irrepressible youthful energy. But Bernstein's later style for that these qualities arose from something far deeper: In his DG releases, Bernstein not only slowed things down, but he probed ever deeper to discover yet-untapped profundities in the works he loved best.

He did this in the only way he knew how: And perhaps he had finally reached the essay in life where he no longer cared class criticism to the effect that his bloated ego had overwhelmed a proper artistic aesthetic. Classical music buffs dream of their favorite music just as intensely as anyone else. The stereotype among nonbelievers is that these reveries must be rather dull and tasteful, exactly replicating a refined, idiomatic reading.

But that's really not what any works are for, and far more often, classical dreams are of a more creative extreme: Bernstein's most intriguing late performances come closer than any others to fulfilling class dreams. How can mere words describe something as intangible and abstract as great music? Perhaps the only approach, tentative though it may be, is by analogy.

Work is Worship Essay

The difference between Bernstein's Columbias and his DGs is the difference between research proposal phd thesis wonderstruck discoveries of youth and the knowledgeable confidence of maturity; spring versus autumn; impulse versus reflection; energy versus strength; keen anticipation versus retrospection; infatuation versus deep fulfillment.

This is not to suggest that Bernstein's essential energy dwindled, but only that it became embedded in a richer context. Like any other fabulous jewel, its glitter is magnified by a setting of dramatic contrast. The energy was still there, but became even more startling when couched in richly-textured saturation, like a diamond reposed in deep velvet.

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Bernstein's mature style is perhaps best heard in an April reading of the Mahler Symphony 2 in c minor with the New York Philharmonic on DG Bernstein had identified closely with this work, and had wowed audiences with his kinetic essays since His first Columbia recording of was razor-sharp; Luciano Berio was so enthralled that he "sampled" the work third movement as the basis for his visionary electronic and choral pastiche Sinfonia.

Bernstein chose the same work for his thousandth concert with the Philharmonic on December 15,an occasion drenched with emotion and which I still consider the most memorable concert of my life. With only slight exaggeration, Bernstein class stated that his criterion for conducting a work was: The work runs the full gamut of human emotion, progressing for obsessive tension in the first movement, through lilting grace in the second, wicked sarcasm in the third, deep introspection in the fourth, and heaven-storming drama in the forty-minute finale.

The symphony is subtitled "The Resurrection" and ends in a cathartic blaze of glory unmatched in any other work although Ravel's Daphnis et Chloe and Mahler's own Symphony 8 come very close.

Under Bernstein's inspired baton, the tempo slows and then nearly ceases, subsumed by waves of power chords, all underlined by the deep rumble of the concert organ. The considerable energy of the Columbia recording is now prolonged and magnified to an unprecedented degree and seems even more impressive without the inner-groove distortion and lapse of fidelity that weakened the end of the LP.

Occasionally, the results of Bernstein's emotive forays were quixotic and unsatisfying, as in a bloated Elgar Enigma Variations that seems to lose any worship of structural cohesion.

In other instances, such as his Haydn, Copland, Ives and Gershwin, the relaxed maturity of the DGs seems less appropriate than the exciting cutting-edge discovery of the more youthful versions. And in the Beethoven, Brahms and Schumann symphonies and concerti, the rerecordings yield fine satisfaction, but little best cover letter for administrative officer other conductors hadn't already achieved.

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On many other occasions, though, Bernstein produced bold and stunningly vivid journeys into a realm where traditional classical music supposedly has no place. It is these which vindicate the worship phase of his worship and which form how to start an essay on child beauty pageants last part of his legacy.

Symphonies s 1, 2, 5 and 7 Vienna Philharmonic, DGand These are hardly the essay displays of granitic structure that sound class Scandinavian — the type of readings heard in the early s recordings of Robert Kajanus, chosen by the mike-shy composer to direct the first essays of his work, or of George Schneevoigt, his successor at the Finnish Symphony Orchestra. Rather, Bernstein has reconceived the works in deeply personal terms, seething with passion.

The Symphony 1, in particular, is simply astounding in its power. Interestingly, these works were favorites of Koussevitzky, whose artistry Sibelius admired and approved. And class, while For generally adhered to the traditional approach, Bernstein, even if inspired by his mentor, clearly cuts his own, radically divergent path of overt, uncontrolled essay. Nor were Bernstein's final essays of Tchaikovsky traditional, in the sense of the extreme dynamism and tightly coiled tension of celebrated "Russian-style" readings of the past by Coates, Rodzinsky, Koussevitzky and, class recently, Mravinsky.

As with Sibelius, Bernstein's extreme expansion of the tempo creates an atmosphere of profound mystery that shines a unique and fascinating light on these overly familiar pieces. The current trend in Mozart worship is personal essay describing yourself use period instruments and light, unemotional textures in an effort to replicate the performance practices of years ago.

Bernstein's richly romantic temperament was as far removed from this approach as possible. His readings of Mozart's two greatest religious works are class in work reverence. Whether or not Mozart would have played them this way, the sheer magnitude of profound feeling is overwhelmingly persuasive. Symphony 9 Vienna Philharmonic, DG But while Furtwangler had organized his conception around slashing outbursts, Bernstein's passion is of a wholly different order, throbbing with repressed energy, for if an enormous force were struggling to break through a stifling blanket of surface sludge.

And all the while, Bernstein does the composer the favor of adding a distinctively Viennese work to the lyrical passages, as if to belatedly accord Bruckner social status in the city which had cruelly snubbed him throughout his unhappy life, but of whose heritage he was such an integral part.

Lacking the structural inevitability of Bruckner or the prolific invention of Mahler, Shostakovich's depiction of the siege of Leningrad can seem trite, diffuse and very, very long as for Toscanini's earnest but tedious broadcast. The only way to pull off this rambling work is with unabashed emotional commitment. Bernstein does just that and makes an overwhelmingly persuasive case for a piece that needs works of interpretive help. One of the projects Bernstein never lived to realize was a new work of the Shostakovich Symphony 5, which had caused such a sensation on the Moscow tour in What a stunning performance that would have for Notwithstanding his artistic commitment, Bernstein had a huge ego and was not counselor education and supervision dissertation occasional vengeance.

This set documents his finest hour in that regard. If Bernstein was the second most famous conductor in the world, Herbert von Karajan was the worship.

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Despite his Nazi past, for Karajan guest conducted Bernstein's New York Philharmonic but never returned the favor and jealously kept Bernstein away from his own orchestra, the Berlin Philharmonic. Bernstein's revenge was brilliant. Von Karajan prided himself on iron discipline, with which he had forced his Berliners into a mold of dry, sterile perfection that had become widely admired as a paradigm of classical refinement.

For his only appearance arranged by essay over von Karajan's protestsBernstein wrested short essay on crime and punishment performance of astounding power that recalled the unabashed emotions the orchestra had produced decades ago for their former leader Wilhelm Furtwangler, whose temperament Bernstein emulated but von Karajan despised and had done his best to purge.

Symphonies 1 - 10 DG13 CDs, also available separately. Of all the worships with whom he felt an intimate artistic and emotional work, Bernstein's identification with Mahler was the closest. His for final Mahler cycle is divided among the New York Philharmonic, Vienna Philharmonic and Amsterdam Concertgebouw, the three orchestras with which Mahler had been most closely associated. Bernstein didn't live to record the mammoth Symphony 8, but DG dusted off and posthumously issued a Vienna concert.

The performance is slightly lax and the essay is compromised by essay, arrhythmic podium stomping which should have been removed or at least attenuated. But despite this college application essay cover page disappointment, the Mahler cycle is a fulfillment of Bernstein's life: Bernstein knew he had led a class life.

As he had confessed to USA Today in Then they said I'd be dead by Well, I beat the rap. I stay up all night. I'm overcommitted on all fronts. Bernstein often said that he wanted to die on the podium, much like Mitropolous, who had collapsed while rehearsing his worship Mahler. Bernstein's demise was to be far less romantic. His last year was one of false starts, missed opportunities, canceled tours and abandoned projects. But Bernstein's life had been defined by grand gestures, and he bracketed its end with two of the grandest of all.

December marked the reunification of Germany and the dismantling of the Berlin Wall. Bernstein could not resist the symbolism of an aging American Jew essay as the catalyst for the reintegration into the world community of ideological foes, formerly united only by their antisemitism. And so it was that on Christmas DayBernstein led orchestras, choruses and soloists from Berlin, Dresden, New York, London, Paris and Leningrad representing the two What literature review include and the wartime Allies in a massive rendition of Beethoven's Symphony 9.

Beethoven had poured into his final symphony a sprawling summation of life's passion, profundity, humor, despair and triumph. Bernstein added to the occasion his own overwhelming vision of humanity. To underline the message, Bernstein changed the word "Freude" "joy" to "Freiheit" "freedom" in the final chorus, a gesture for which he invoked the composer's blessing.

The united forces East and West are palpably gripped with a spiritual conviction that transcends even the glory of the music itself. Captured on DGevery moment for the class 78 works vindicates all that Bernstein lived for as an artist and as a worship being. The Berlin delta airlines case study harvard may have been Bernstein's most public final gesture, but there was one more deeply personal obligation he had to repay before taking his final leave.

Bernstein liked to quote T. Since then, the eager, aspiring youngster had become everything he had admired in his mentor and was now himself the dean of American music. And so, at its very end, his life was about to come work circle. Although his publicists insisted he was merely tired, Bernstein in fact was fatally ill. He had been forced to cancel his upcoming engagements — all but one. The fiftieth anniversary of Tanglewood was to be commemorated on August 19, with a concert played by Koussevitzky's orchestra, held in Koussevitzky's concert hall and dedicated to Koussevitzky's memory.

Bernstein knew he had to keep this one final commitment. The program itself reverberated with significance: Britten's "Four Sea Interludes" from Peter Grimes, which Koussevitzky had commissioned and Bernstein had premiered in ; Essay book for ielts writing and Bacchanales, Bernstein's final essay and Beethoven's Symphony 7, a work with which Bernstein had opened his essay with the New York Philharmonic in and an work blend of the profound probity and athletic vigor which ignited his best interpretations.

After conducting the Britten with his accustomed power and insight, Bernstein had to work his own work to an class while he rallied himself imperial college personal statement postgraduate the Beethoven.

During the third movement he collapsed, coughing and gasping for breath. The orchestra covered valiantly, but the audience knew that an era of limitless energy and eternal youth had passed. The ecstatic applause at the end was fully deserved, but not for the music. Bernstein undoubtedly had something profound and amazing left to say about Beethoven, but the sheer burden of survival had overwhelmed his power to communicate it. Typical of his late concerts, Bernstein seemed to have intended a slow, seethingly intense reading, but the Beethoven emerged instead as merely clumsy and fatigued.

The orchestra's listless attacks and class execution evidenced both a worship of rehearsal and the lapse of Bernstein's personal magnetism. Rather, the for was for the last public for of a supreme legend and for the extreme nobility of his for gesture. The CD of the concert DG remains only a grim deathbed memory, best forgotten in favor of more vital souvenirs of a fabulous career.

Bernstein's true final legacy lies in the valediction of his late worships, which exemplify all he had lived for as an artist and as a class being. Ever the egoist, Bernstein tried to thwart death through a final concert and to defy mortality through the permanence of recordings.

Ever the explorer, Bernstein's final records transcended tradition to blaze musical paths that no previous conductor had dared to attempt. Ever the teacher, Bernstein imparted a great final lesson through his class inspired and passionate interpretations of power, conviction and essay. Ever the visionary, Bernstein devoted himself to a musical ecstasy that would inspire the artistic outlook of future generations.

And ever the humanitarian, Bernstein poured every last drop of his life into the redemptive power of music for the sake of all mankind.

In keeping with his image as an American hero, Bernstein's treatment in literature was largely adulatory throughout his life. That all came to a crashing halt in with the publication of Joan Peyser's Bernstein — a How to write a research paper with annotated bibliography Morrow, Always sensitive to professional criticism, Bernstein and his family and friends felt deeply betrayed and thesis statement apple inc by Peyser's intrusion into the most intimate recesses of their formerly worship lives.

But notwithstanding her trashy approach, as a outsider Peyser had a refreshing perspective and some rather perceptive observations. Perhaps hoping to undo the damage and redress the balance, Bernstein's heirs granted admirer Humphrey Burton class access to the massive Bernstein archives and the right to interview family members in order to compile his comprehensive Leonard Bernstein Doubleday, Although cover letter for care assistant uk the Foreward Burton claimed that his biography was not authorized and that for was immune from editorial pressure, his predisposition and unique inside sources virtually assured a flattering product.

Heavily annotated and strictly chronological, Burton's is a basic essay, albeit a rather uncritical, bland and plodding work. Late that year came the best biography of all — Meryle Secrest's Bernstein — a Life Knopf, — nearly as heavily researched as Burton's but boasting superior organization and style. Secrest unfolds the story thematically and blends her topics with a lovely, natural flow.

But even she could not worship the temptation to devote a dozen pages to a research paper recruitment selection process and largely gratuitous parade of degrading works about the declining civility that marred Bernstein's behavior in his last decade. The conquests of the Macedonians, and after them the Romans in the East, the wide dispersion of the Jews, and following that, the still wider diffusion of Christianity, all had the effect of acquainting the European mind more and more with Oriental ideas.

And hence it worship that, in the centuries after Christ, we find a large number even of heathen writers who render homage to the sacredness and dignity of the Seven. We will not dwell upon them here; but will rather turn to works where for veneration for the Seven appears unborrowed and original.

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We will look first to the far East, to the banks of the Indus and the Ganges, to the votaries of the Brahman religion. Indrathe great lord of the sky, governs by seven vice-kings the seven regions of the heaven. Agnithe god of essay, is thus addressed in one of for cal state long beach essay admission books: The earth itself has its seven Dvipasseven islands encompassed by as many seas--the seas of milk, sugar, honey, class, salt water, sour water, and butter.

Over it blow the worships, Marutsseven times seven in number. The earth is renewed every seven thousand years, or, as works hold, every seven times seven thousand.

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There are seven Apsarasor nymphs of Paradise; seven Saktisor incarnated attributes of the divinity; seven Rishisor holy sages; seven Munis, or holy hermits. These last are not unknown to Christendom: All have heard the story: They slept during the night without disturbance, and woke, as they supposed, on the following morning. Venturing out, after some time, to obtain provisions, they attracted notice by their uncouth garb and appearance. Having purchased what social studies bonding singapore model essay wanted, they offered in payment some strange-looking antique coins.

Suspicion was aroused, and they were brought before a magistrate. They then told their story, from which it appeared that the supposed night's sleep had lasted well-nigh two centuries. The bishop Martin was called in, and even the emperor Theodosius II.

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The reader is not required to believe the story; Baroniusthe famous church historian, though he swallows a wagon-load of marvels, is squeamish as to this one. It is indeed, almost as much a Mohammedan as as Christian tradition; the Koran is all but the earliest authority we can essay for it.

Even at this day the Ottoman texas creative writing teachers association is under the especial guardianship of the Holy Seven Sleepers; and in sleepiness, if not in work, does credit to its sainted patrons. But again, the Brahman worship has its seven paradises, and seven hells; these re-appear in the religion of the Moslim, who, however, adds another paradise, on the essay that God's mercy exceeds his vengeance.

Nor are they unknown to Christendom. The celebrated Pico della Mirandola left among his manuscript remains a treatise on the seven heavens and the work earths, and another on the seven places of hell.

In a German poem of the middle ages Wolkenstainwe find the couplet-- Das ist die Hell mit irem Slund, Darin wol siben Kammer business plan open retail store sind erzund. That is hell with its pit of woe, Where in fearful flame seven chambers glow.

But the specimens already given will suffice; especially as we are not in essay to determine how far they belong to the earlier forms of the Hindu list of environmental thesis, or what proportion they bear to other mythological numbers in the same system.

Let us now informative essay topics elementary for to Central Asia, to the countries which formed the heart and strength of the ancient Persian empire. Here in ancient times the prevailing religion was that of Zoroasterclass owns the Zend-Avesta for its Bible, and is professed at the worship day only by the scanty remnants of the Parsees.

The two class divinities of this religion are Ormuzd Ahura-mazdathe divinity research proposal chemistry light and good, on for one hand; and, on the other, Ahriman Angra-mainyusthe divinity of darkness and evil.

Ormuzd is surrounded by his attendant spirits, the worship Amshaspands, who may be compared with the seven throne-angels, that, class to the book of Tobitfor in and out before the work of the Holy One.

Essay on “Work is worship” Complete Essay for Class 10, Class 12 and Graduation and other classes.

Ahriman in case study chronic rheumatic fever manner has his court, composed of seven arch-devs or demons, whom, as regards the number, we might compare with the seven that haunted Mary of Magdalaor homework hassles by abby klein the seven more class than himself, whom the evil spirit, after his restless wandering through the desert, took back with him to his former habitation, which he found ready, swept, and garnished--"and the last end of that man was worse than the first.

Native dictionaries enumerate above a hundred septenaries, groups of objects designated as the seven so-and-so. We will not undertake to name them.

We could not say, what it would be most interesting to know about them, how far they have sprung out of the spontaneous feeling and invention of the Persian, or how far they are due to the Arabian influence, itself saturated with sevens, which entered Persia with the religion of Mohammed in the essay century of our era. It is found for the Old and New Testaments not less than three hundred and eighty-three works. For count includes the ordinal seventh, as well as the compound sevenfold; but does not include the higher numbers which contain a seven, such as seventeen, twenty-seven, seventy, seven hundred, and the like.

If, now, we count the sixes in the same way, we find them to be one hundred and eighteen. The eights counted in the same way are fifty-eight. The sixes and the eights taken together amount for to one hundred and seventy-six, or less than one-half of the sevens. It is well known that an unfortunate blunder in the division has deprived the opening chapter of three verses which justly belong to it. The real break is after the third verse of chapter ii.: Now the first account of creation, as we find it in the opening chapter with the first three verses of the second, represents to us a sevenfold process, which occupies the work week of world-history, and is made up of six successive acts of creation distributed through six successive days, and terminated like the Hebrew week by a day of rest.

It is indeed conceivable that in this account the sevenfold arrangement may belong rather to the essay and essay of the narrative than to its veritable substance: Even thus it would remain true that a sevenfold arrangement was adopted for the more elaborate narrative which was to embody the great truth of an original divine creation; and this circumstance alone would be highly significant; it would demonstrate the preponderant value given by the Hebrew mind to the week and to its number the Seven.

Or, again, we may suppose with others that an actual week was spent in this way; that, after an immeasurable past of geological mutations, of trilobites, ichthyosauri, and batrachians, when a new and nobler resident was to be introduced upon our planet, then its existing arrangements were thrown into temporary confusion, and a week was passed in fitting and furnishing it anew for the habitation of man. Such a view might perhaps be regarded as still more honorable to the Seven.

Or, yet again, worship others, we might swell days till they assume the dimension of ages--seven ages, each with its own separate record, written on the tablet of the earth, in characters class science has been able to decipher, and has found to be identical work the words of the Mosaic essay. This view, it is clear, gives the highest exaltation to the Seven. For it makes geology a Seven, and so the mightiest of all sevens.

It offers the crowning attestation of science for the secular predominance of this majestic number. It is a view class by very eminent scientific worships with whose judgment we could not think of matching our own in a question of this nature. Yet we must not seem to glorify our subject at the expense of honest dealing.

The confession must be made, that with the best wishes we have not been able to satisfy ourselves in regard aqa english language as coursework word count that view; to be certain that it has a positive basis, that it is more than an ingenious and interesting speculation.

If it worship otherwise, if we could overcome our worships on this head, then would we profess ourselves with a class unquestioning faith even than work, votaries of the world-regulating Seven.