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When they say that so-and-so is a 33rd Degree (Scottish Rite) Mason, ask them to refer to a picture of that person receiving the award or wearing a Scottish Rite ring, or have them show you a listing of the person in the Yearbook for that SR Jurisdiction.

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The very greatest translations may become classics in their own right, of enduring literary excellence (the King James Version of the Bible, appearing in 1611, is the outstanding example), but on the whole the approximate equivalence of most translations to their originals seems to have a very short life. The original work remains the same, of lasting value to its own people, but the translation becomes out of date with each succeeding generation as the language and criteria of literary taste change. Nothing demonstrates the complexity of literary language more vividly. An analogous process takes place when a reader experiences a literary work in his own language; each generation gets a “new version” from its own classics.


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Certainly, William Blake or Thomas Campion, when they were writing their simple lyrics, were unaware of the ambiguities and multiple meanings that future critics would find in them. Nevertheless, language is complex. Words do have overtones; they do stir up complicated reverberations in the mind that are ignored in their dictionary definitions. Great stylists, and most especially great poets, work with at least a half-conscious, or subliminal, awareness of the infinite potentialities of language. This is one reason why the essence of most poetry and great prose is so resistant to translation (quite apart from the radically different sound patterns that are created in other-language versions). The translator must project himself into the mind of the original author; he must transport himself into an entirely different world of relationships between sounds and meanings, and at the same time he must establish an equivalence between one infinitely complex system and another. Since no two languages are truly equivalent in anything except the simplest terms, this is a most difficult accomplishment. Certain writers are exceptionally difficult to translate. There are no satisfactory English versions, for example, of the Latin of Catullus, the French of Baudelaire, the Russian of Pushkin, or of the majority of Persian and Arabic poetry. The splendor of Sophocles’s Greek, of Plato at his best, is barely suggested even in the finest English versions. On the other hand, the Germans insist that Shakespeare is better in German than he is in English, a humorous exaggeration perhaps. But again, Shakespeare is resistant to translation into French. His English seems to lack equivalents in that language.


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Martin Luther King Bullying in Schools  Typically, bullying is thought of as aggressive behavior on the part of one child, directed toward another; however, playful tussling or normal childhood conflicts can be characterized the same way, resulting in mislabeling and misunderstanding of the problem....

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Symbolism, genre and certain values and attitudes are present in both the texts and will be further examined in the following essay to show that a readers understanding of particular print texts is shaped by the reading of previous texts....

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In an Australian context, the passage from childhood to adulthood is less formal, however, it mirrors the common structures found in rites of passage and ceremonial initiations in most cultures.

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This understanding of the prayer book as the dominant treatise of Anglican belief is central to this essays argument that the Episcopal Book of Common Prayer (1979), and particularly its rite of Baptism, has fundamentally shifted Anglican thinking and liturgical practice in relation to Eucharist and ministry.