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Take heed that ye despise not one of these little ones; for I say unto you, That in heaven their angels do always behold the face of my Father which is in heaven. ( Matthew 18:1–10 ) The word translated as converted in the King James Version [ 1 ] ( Greek : στράφητε , straphēte ) literally means 'turn'.
The lyrics also show a trend toward those more commonly associated with "Children, Go Where I Send Thee." For instance, the line "Two, two, the lily-white boys clothed all in green" in Grainger's recording has become "One was the little white babe all dressed in blue" in the Bellwood Prison Camp recording.
The work's alternative title, "Suffer the little children to come unto me" is based on a passage from the gospel of Matthew in which Jesus was instructing his disciples through the example of children. The painting is part of the artist's body of religious work, which is less well-known than her depictions of strong women. [1]
A Child's Garden of Verses is an 1885 volume of 64 poems for children by the Scottish author Robert Louis Stevenson. It has been reprinted many times, often in illustrated versions, and is considered to be one of the most influential children's works of the 19th century. [ 2 ]
Accordingly Augustine includes two things in the definition of sin; one, pertaining to the substance of a human act, and which is the matter, so to speak, of sin, when he says, word, deed, or desire; the other, pertaining to the nature of evil, and which is the form, as it were, of sin, when he says, contrary to the eternal law.
In the Farewell Discourse Jesus promised to send the Holy Spirit to his disciples after his departure, depiction from the Maesta by Duccio, 1308–1311.. The roots of the doctrine of Christian perfection lie in the writings of some early Roman Catholic theologians considered Church Fathers: Irenaeus, [14] Clement of Alexandria, Origen and later Macarius of Egypt and Gregory of Nyssa.
The most basic three-chord progressions of Western harmony have only major chords. In each key, three chords are designated with the Roman numerals (of musical notation): The tonic (I), the subdominant (IV), and the dominant (V). While the chords of each three-chord progression are numbered (I, IV, and V), they appear in other orders.
The accompaniment performers translate the Roman numerals to the specific chords that would be used in a given key. In the key of E major, the diatonic chords are: E maj7 becomes I maj7 (also I ∆7, or simply I) F ♯ m 7 becomes II m7 (also II −7, II min7, IIm, or II −) G ♯ m 7 becomes III m7 (also III −7, III min7, IIIm, or III −)