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Paul also never quotes from Jesus's purported sermons and speeches, parables and prayers, nor does he mention Jesus's supernatural birth or any of his alleged wonders and miracles, all of which one would presume would be very important to his followers, had such exploits and sayings been known prior to the apostles purported time. Turning to the canonical gospels themselves, which in their present form do not appear in the historical record until sometime between 170-180 CE, their pretended authors, the apostles, give sparse histories and genealogies of Jesus that contradict each other and themselves in numerous places. The birth date of Jesus is depicted as having taken place at different times. His birth and childhood are not mentioned in 'Mark, ' and although he is claimed in 'Matthew' and 'Luke' to have been 'born of a virgin, ' his lineage is traced to the House of David through Joseph, so that he may 'fulfill prophecy.' Christ is said in the first three (Synoptic) gospels to have taught for one year before he died, while in 'John' the number is around three years. 'Matthew' relates that Jesus delivered 'The Sermon on the Mount' before 'the multitudes, ' while 'Luke' says it was a private talk given only to the disciples. The accounts of his Passion and Resurrection differ utterly from each other, and no one states how old he was when he died. In addition, in the canonical gospels, Jesus himself makes many illogical contradictions concerning some of his most important teachings.

D.M. Murdock
Johann Conrad Dippel was a German theologian, alchemist and physician and is purported to be the individual on whom Mary Shelley based her book: 'Frankenstein: The Modern Prometheus'. Born in castle Frankenstein near Darmstadt in 1673. He studied Theology, Alchemy and Philosophy at the University of Giessen, acquiring his Master's degree in 1693. Later he turned to Hermetic studies and Alchemy in his quest to unravel the secrets of Nature. He created 'Dippel's Oil', an 'Elixir of Life', that promised of good health and extreme longevity, the Alchemist's Holy Grail, but did not live long enough to share his discoveries with the world. Mary Shelley's fertile imagination created a story and a legend which has become synonymous with the archetypal madman. It has slipped into the modern day psyche, through the medium of cinema, as a horror benchmark from which much speculation, and even more fiction has been weaved into the fabric of the story. Here is a recounting of how he created his 'Elixir', and the events leading up to this momentous moment and what motivated and drove him to the discovery of an eternal treasure, sought by mystics and alchemists alike. It is a tragic tale and will re-write the history books to vindicate and, at last, set the record straight for this much misunderstood man. He was cursed for having been born at a time when his genius was never fully appreciated and, because of this, the accounts of his life have left us with nothing more than fanciful stories of horror and degradation. This, thankfully, is no longer the case, no longer will he be vilified by popular fiction and can at last take his place in history as a visionary and healer, his true calling.." 'Frankenstein: The Lost Manuscript

Paul Lord
There is a degree of emotional impact in the nature poetry of the eighteenth century which marks a shift in sensibility towards what came to be called 'the sublime'. The concept, from classical Greek, came to England through the French of Boileau, and reached its definitive explication in Edmund Burke's Philosophical Enquiry into the Origin of Our Ideas of the Sublime and the Beautiful (1757-59). This is a key text of the times, displaying an emphasis on feelings and on imagination, which is almost the antithesis of the neoclassical insistence on form and reason. Burke's idea of the sublime goes beyond natural beauty (although the beauty of nature is very much a part of it) and goes into the realms of awe, or 'terror'. The sublime is, for Burke, 'productive of the strongest emotion which the mind is capable of feeling'. Terror, emotion, feeling: all these represent a break from the intellectual rigours of the Augustan age, and are in one sense a reaction against the new pressures of society and bourgeois concerns... The link between the sublime and terror is most clearly seen in the imaginative exaggeration of the Gothic novel - a form which concentrated on the fantastic, the macabre and the supernatural, with haunted castles, spectres from the grave and wild landscapes. It is significant that the term 'Gothic' originally had mediaeval connotations: this is the first of several ways of returning to pre-Renaissance themes and values which is to be found over the next hundred years or so. The novels of the 1760s to the 1790s, however, gave the term 'Gothic' the generic meaning of horror fantasy. The Castle of Otranto (1764) by Horace Walpole (son of the prime minister Sir Robert Walpole) was the first of this kind, and the sub-genre has flourished ever since... .. Like many texts of its times, Walpole's novel purported to be a translation of an ancient manuscript dating from the eleventh or twelfth century. There was a strange fashion for these mediaeval rediscoveries, Thomas Chatterton and James Macpherson (Ossian) being notable contributors to the trend. Whether this was a deliberate avoidance of boastful originality or an attempt to give the works involved some spurious historical validity is not clear. Peter Ackroyd's novel Chatterton (1987) examines the phenomenon.

Ronald Carter
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