Love is the breath of the Holy Spirit inspired into the human spirit! – Abdu’l-Baha

‘Love is the breath of the Holy Spirit inspired into the human spirit!’

This piece seems to be another version of the better known one that is HERE http://reference.bahai.org/en/t/ab/SAB/sab-13.html

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Truth is a shining goddess always veiled always…

Truth is a shining goddess, always veiled, always distant,
never wholly approachable, but worthy of all the
devotion of which the human spirit is capable.

Bertrand Russell

The Kingdom of Names I think is more…

The Kingdom of Names I think is more than the Names and Attributes of God. It is everything that we name. God is beyond any naming, any naming in relation to God falls short i.e is infinitely less than that to which we refer.

Zen masters will rarely use the name God – they ‘point’ – which is all we can do when we refer to that which is beyond The Kingdom of Names.

The realm of the Names and Attributes of God itself seems to me to be a) beyond all human ken but b) is also the Holy Spirit which the force behind every thing – every plant, and minerals animal and person.

The great Abraham Josuha Heschel said;

“Concepts are delicious snacks with which we try to alleviate our amazement.”

Concepts are (part of ) the Kingdom of names.

Amazement is wordless, concept-less, unitive connection within the Divine Whole – also known as Wonder-ment, or mystical union.

Croce’s Aesthetics First published Sun …

Croce’s Aesthetics – http://plato.stanford.edu/entries/croce-aesthetics/#FouDomSpiMin
First published Sun May 4, 2008; substantive revision Mon Aug 31, 2009

The Neapolitan Benedetto Croce (1860–1952) was a dominant figure in the first half of the twentieth century in aesthetics and literary criticism as well as philosophy generally, but his fame did not last, in either Italy or the English speaking world. He did not lack promulgators and willing translators into English; H. Carr was an early example of the former, R. G. Collingwood was both, and D. Ainslie did the latter service for most of Croce’s principal works. But his star rapidly declined after the Second World War. Indeed it is hard to find a figure whose reputation has fallen so far and so quickly; the fact is somewhat unfair not least because Collingwood’s aesthetics is still studied, when it is mostly borrowed from Croce. The causes are a matter for speculation, but two are likely. First, Croce’s general philosophy was very much of the preceding century. As the idealistic and historicist systems of Bradley, Green, and Joachim were in Britain superseded by Russell and Ayer and analytical philosophy, Croce’s system was swept away by new ideas on the continent—from Heidegger on the one hand to deconstructionism on the other. Second, Croce’s manner of presentation in his famous early works now seems, not to put too fine a point on it, dismissively dogmatic; it is full of the youthful conviction and fury that seldom wears well. On certain key points, opposing positions are characterized as foolish, or as confused expressions of simple truths that only waited upon Croce to articulate properly. Of course, these dismissals carry some weight—Croce’s reading is prodigious and there is more insight beneath the words than initially meets the eye—but unless the reader were already convinced that here at last is the truth, their sheer number and vehemence will arouse mistrust. And since the early works, along with his long running editorship of the journal La Critica, rocketed him to such fame and admiration, whereas later years were devoted among other things to battling with while being tolerated by fascists, it’s not surprising that he never quite lost this habit.

Nevertheless, Croce’s signal contribution to aesthetics—that art is expression—can be more or less be detached from the surrounding philosophy and polemics. In what follows, we will first see the doctrine as connected to its original philosophical context, then we will attempt to snip the connections.

* 1. The Four Domains of Spirit (or Mind)
* 2. The Primacy of the Aesthetic
* 3. Art and Aesthetics
* 4. Intuition and Expression
o 4.1 The Double Ideality of the Work of Art
o 4.2 The Role of Feeling
o 4.3 Feeling, Expression and the Commonplace
* 5. Natural Expression, Beauty and Hedonic Theory
* 6. Externalization
* 7. Judgement, Criticism and Taste
* 8. The Identity of Art and Language
* 9. Later Developments
* 10. Problems
o 10.1 Acting versus Contemplation
o 10.2 Privacy
o 10.3 The View of Language
* 11. Conclusion
* Bibliography
o Primary Sources
o Secondary Sources
* Other Internet Resources
* Related Entries