Personal Guidebook to Grief Recovery

Transform Grief

With Transform Grief you will get a systematic approach to replacing your grief with newfound happiness. Heres how: Your first step will be to gain the understanding that it is okay to start feeling better. Grief oftentimes makes us feel shame for being happy and through this introduction you will understand that your loss doesnt mean you have to mourn for your own life. Understand the 7 stages of grief and how you can navigate them in a healthy and productive manner. Conventionally, there have always been 5 stages of grief but this adaptation will provide you with the vital turning points experienced in the journey. Forgiveness is often overlooked when discussing grief, you will discover why and how you can forgive yourself, forgive others and most importantly, forgive the situation that got you here. Forgiveness is for you and it stands in the way of your ultimate happiness you need to move on with your life. Identify the facets of your support system that will carry you back to life as you once knew it. The smile on your face will return as joy and enthusiasm become possible again. Discover the 10 powerful actions that will help you deal with your grief in a constructive and helpful manner. Each exercise in this section will bring you one step closer to the peace you strive for. Its just one foot after the other towards resolution. Youll find out the two most important questions to answer in your grief circumstance and those answers will guide you to the finish line a world that your love every moment living in. Continue reading...

Transform Grief Summary


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Author: Jason Ellis
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My Transform Grief Review

Highly Recommended

I started using this ebook straight away after buying it. This is a guide like no other; it is friendly, direct and full of proven practical tips to develop your skills.

As a whole, this manual contains everything you need to know about this subject. I would recommend it as a guide for beginners as well as experts and everyone in between.

Thomas Brown 16631704

Thus he kept sin in awe, And supported the law But, oh cruel fate So unkind, though I say't, Last week, to our grief, Grim Death, that old thief Alas and alack Had the boldness to pack This old priest on his back, And whither he's gone, Is not certainly known, But a man may conclude, Without being rude, That Orthodox Sam His flock would not sham

Ridicule Truth and Memory

There alone unchang'd, Her form remains. The balmy walks of May There breathe perennial sweets the trembling chord Resounds for ever in th' abstracted ear, Melodious and the virgin's radiant eye, Superior to disease, to grief, and time, Shines with unbating lustre.

Ablas Trials During Antars Absence

After it was spread abroad that old Malik had maliciously despatched Antar on the desperate enterprise to procure the Asafoor camols for Abla's dowry, ho soon found himself tho objoct of scorn and contempt among his tribo, and resolved to depart secretly, with fifteen horsemen, on a marauding expedition, and not to return until the scandal had boon forgotten. But instead of plundering others, Malik and his party wore taken prisoners by Vachid, a famous horseman of the tribe of Kenanah. This chief being informed by his mother that Malik had a beautiful daughter called Abla, he demands her in marriage, to which Malik readily consents, and offers to go and bring her to him as his bride. On this condition Vachid releases Malik and his son Amru, who at once depart for the land of Shurebah and on approaching the habitations of their tribe, they find all the people in grief on account of the reported death

Antar Rescues His Beloved

When Shiboob had concluded his story, Antar appeared to be stupefied with rage and grief but recovering himself, he cried, I must be revenged on that family of Zeead I will deprive them of their sweet slumbers He hastened to his friend Prince Malik, who conducted him to the King, to whom he related Amarah's ungrateful return for his services in liberating him from the Nocturnal Evil. Zoheir was greatly exasperated at the infamous conduct of Amarah, and vowed vengeance upon the whole family of Zeead. But Antar tells Prince Malik that he will not put the king to any trouble on his account, for he will alone undertake the rescue of Abla. His friend, however, insists upon going with him and, taking advantage of the king's absence at the chase, he musters his father's horsemen, while Antar summons Shedad and his brother Malik, with his son Amru and the sun was not yet high when the warriors, to the number of two hundred, set out to revenge the insult that had been offered to the family of...

Ablas Father And Brother Again Rescued By Antar

It was almost dark when they entered the tents, through which they continued to pass, attentively observing everything, till they came to the tents of Ramih, where they saw Malik and his son, in extreme misery, tied up with the dogs. 'Behold your uncle,' said Shiboob 'let your grief be now assuaged.' Antar threw his bundle of wood off his head, and Shiboob did the same but they did not stop till Ramih, who was the chief of the Jibhanians, came out, attended by a troop of slaves, who laid out a sofa for him to sit on. He then began to talk to his shepherds, who were parading before him his horses and his cattle and he inquired of them about the pastures and the grain.

To Althea From Prison Richard

In the first stanza he describes Love with unconfined wings, which hovers within my Gates, or his metaphorical prison. He fantasizes that Althea arrives at the prison grates to whisper her love, and he notes his only fettered, or chained, state is when he lies tangled in her hair. Even Gods that wanton in the Aire Know no such Liberty. The second stanza employs imagery of flowing wine, by reference to Cups that flow so freely they may be compared to the Thames itself. He describes a time of celebration when are our careless heads with Roses bound, Our hearts with Loyal Flames. Again the prisoner imagines drowning his thirsty grief in wine during a time when all celebrants toast one another's health. He concludes that stanza by reflecting on the notion of the flowing river and the drunkenness that accompanies times of joy. Even Fishes that tipple in the Deep, Know no such Liberty.

Love A Child Is Ever Crying Lady

The third stanza offers rhetorical balance, as Cupid takes from the speaker and her lover additional emotions contributing to the speaker's feeling of rejection. While she contributes grief, as well as her passion, her lover's contributions continue to be ones with a negative, even sinful, connotation. Behn shapes him as near-inhuman in his disregard for the speaker, a skillful intersection with Cupid's lack of humanity in lines balanced by pleasing repetition From me he took his sighs and tears, From thee his pride and cruelty. Behn then pursues the perceived inequity of the speaker in two lines that finally equate her lover's cruelty to the physical wounds inflicted by Cupid, as her speaker states of the sources of Cupid's weapons, From me his languishments and fears. And every killing dart from thee. While in the final stanza of the song the speaker clarifies that she and her lover have armed their own enemy, and worse, set him up a deity, she alone is victimized But my poor heart...

Schnackenberg Gjertrud 1953

Schnackenberg's early use of hymn meter (the meter of Emily Dickinson) eventually was replaced by the terza rima (three-line stanzas with interlocking end rhymes) of A Gilded Lapse of Time (1992). Although her later work employs several, sometimes looser forms, she remains a formalist. The poem Imaginary Prisons (1985) contains lines that seem to encapsulate many of the concerns of Schnackenberg's poetry history, grief, and writing. As she wrote in that poem, It isn't history if it isn't written It's written here, and written here in memory. The lines draw a connection between history and writing, and their ability in some respects to overcome the tragic aspects of mortality.

Careful Complaint By The Unfortunate Author A Isabella

In A Careful Complaint, Whitney addresses Dido, the queen of Carthage who was abandoned by her lover, Aeneas, and who killed herself in despair. Whitney tells Dido to stop crying and to give up her sorrows, implying that she, Whitney, has a greater right to complain. Then she retracts her previous command and tells Dido instead to continue crying, but to cry for Whitney. She acknowledges that Aeneas mistreated Dido by abandoning her, but she claims that her own misfortunes are far greater since Fortune has turned against her, has deprived her of her health, and wants her dead. She tells Dido that if she (Dido) had not succumbed to the desire to kill herself, then she might have been happy again. Dido could have forgotten about Aeneas after he left, since fire only burns while it has fuel, and annoying things cease to be annoying once they are gone. Whitney, on the other hand, cannot escape from her grief and pain since it will not abandon her.

Bonny Barbara Allan anonymous

When she counters, 'O the better for me ye sal shall never be, Though your heart's blood were a-spillin'.' The grief he now experiences over the loss of their relationship has no practical worth to a working girl like Barbara, a woman still living with her mother, and she basically tells him he offers too little too late. She also knows enough not to linger after Graeme's death, as a woman of her social status would not be welcome during the formal grieving rituals that would follow.

Valediction Of Weeping A John

The speaker begins in a short, centered line, Let me pour forth, adopting language reminiscent of biblical terminology. Donne might have written simply let me cry, but the effect would have been greatly reduced. In simple one-syllable words Donne signals his reader that his idea of grief at parting is greater than that represented by a few tears. enjambment carries the reader into line 2 with no hesitation on the term forth, moving directly into My tears before thy face whilst I stay here. Donne chooses not to have the speaker refer to his own face first, but instead that of his lover as they stand face to face. This prepares readers for the later Platonic suggestion that the two lovers constitute parts of one continuous whole and perfect union. The established close position of the speaker and his love allows the reader an image supportive of the next lines. The speaker notes that his own tears reflect his lover's face, thy face coins them, and that affords the tears value, And by...

When I Consider How My Light Is Spent Sonnet Xix John Milton

Sole, and quite famous, novel, The Vicar of Wakefield (1766), in which the title character believes for a time that his daughter had been lured into a false wedding ceremony, was deserted, and ultimately died of grief. While this sentiment represents Goldsmith's typical hyperbole, it also acts as an example of the mid-18th-century fascination of poets with death and suicide, as well as the results of nonconformity with society's unwritten laws, including those demanding purity of women.

Rumis Masnaviyi Manavi

As Aflakl continues, from then onwards the text of the poem was dictated to Husam whenever Jalal ad-Din felt inspired. This could happen during a mystical session, in a public bath or in any other circumstance. Afterwards the lines noted down were read out to Jalal ad-Din and corrected by him. However, Husam's part in the creation of the poem was much more than that of a humble scribe. He is repeatedly and emphatically named in the poem as the principal source of Jalal ad-Din's inspiration, almost in the same manner as Sham ad-Din TabrizI was mentioned in Ruml's ghazals. When Husam was overwhelmed by grief because of the death of his wife, the work on the poem came to a stand-still for two years. At the beginning of the second book, it is mentioned that the writing was resumed in the year 662 ah (1263-64) (the date of the beginning of the work is unknown). The entire poem was completed shortly before Maulana Ruml's death in 1273.

Epitaph On Sp A child of queen Elizabeths Chapel Ben Jonson 1616

Know of one that cradles their own beloved. With terms such as bewail, Carew invites readers to share the heightened emotion of grief that remains a universal human experience because of death. He concludes with a couplet that modern readers may find imbued with unintentional humor, due to a forced rhyme For thou perhaps at thy return Mayest find thy Darling in an Urne.

Ovids Last Night in Rome

When, however, grief itself removed this cloud from my mind and my emotions recovered at last, when about to leave I addressed for the last time my sad friends, who now were one or two of many. As I wept (lit., weeping), my loving wife, weeping more bitterly herself, held me with a rain of tears falling constandy over her innocent cheeks. My daughter was abroad, far away from me, on African shores, and could not be informed of my fate. Wherever you looked, laments and groans were heard, and inside the house there was the appearance of a noisy funeral. Men and women, and children too, wept at my funeral, and in the house there was crying in every corner (lit, every corner had tears). If I may (lit., if it is allowed to) use prominent examples in an insignificant case , this was the appearance of Troy when it was taken.

Slow Slow Fresh Fount Ben

Slow, Slow, Fresh Fount remains a strong example of the use of form to reflect a poem's meaning. The lines are worded so as to make them move as slowly as the fount of Jonson's title. The first line opens with four equally stressed syllables, or double spondees, in pairs marked by alliteration, a difficult series to pronounce rapidly, which is followed by three iambs Slow, slow, fresh fount, keep time with my salt tears. The second line provides an even greater challenge to a quick tongue Jonson's word choice and arrangement. It suits the grieving manner of Echo Yet slower, yet, O faintly, gentle springs These heavy lines are followed by two lines of iambic pentameter that describe music as a heavy part, employing marked alliteration. Jonson uses the w sound, an unusual choice for repetition, again because of its forced lengthy pronunciation when coupled with the required vowel Woe weeps out her division, when she sings. As Echo mourns the effects of her shower of grief upon the...

To The Thrice Sacred Queen Elizabeth

This allows the transition into the fourth stanza, which further praises her brother, who died a martyr to the Protestant cause. She describes her own grief, unable to stop the tears and sighs his name elicits. She adopts another metaphor in the traditional comparison of writing to weaving, the latter a creative activity deemed acceptable for women. She notes that her brother began the project he did warp while she completes it I weaved this web to end even though they used an unoriginal source, The stuff not ours, our work no curious thing. She comments on the Psalmist King

Upon The Death Of Mr King John

Cleveland begins his 54 lines of rhyming couplets by referencing the elegy form, often present as music, and he employs the verb scan, which traditionally refers to an analysis or measuring of poetry (scansion). He writes, I like not tears in tune, nor will I prize His artificial grief, that scans his eyes. The use of artificial does not apply to the dead Mr. King, but rather to the collection of verses in the volume, as that term sometimes applied to collected poetry. He blends a religious and classical reference as he continues, Mine weep down pious beads but why should I Confine them to What follows is the extended metaphor described in Cleveland's time as a masculine type. It results in awkward and unfortunate imagery projected through FIGURATIVE LANGUAGE (FIGURE OF SPEECH), as well as rhyme, as the speaker says, I am no poet here my pen's the spout Where the rain water of my eyes runs out. Spouts generally ejected water from gargoyles, introducing a monstrous element into the...

Elegy Upon The Death Of The Dean Of Pauls Dr John Donne

Donne redeemed all of those wrongs by drawing a line of masculine expression. Carew also proves adept at the rules by breaking them when he purposely disrupts rhythm to prove a point. After writing of Donne that to thy imperious wit our troublesome language bends, made only fit, he demonstrates by disrupting the smooth iambic pentameter of previous lines With her tough thick-ribb'd hoops, to gird about. The thing the language had to gird was Thy giant fancy, which had prov'd too stout For their soft melting phrases. Carew thus reflects on the contrast between his own approach, that of the soft melting phrases, and Donne's far more fantastical. He concludes his 96-line poem by offering a four-line elegy, calling on others to express in a more complete way their grief for Donne, while he on thy grave this epitaph incise

On The Death Of My First And Dearest Child Hector Philips Borne The 23d Of April And Died

THE 2D OF MAY 1665 Katherine Philips (1667) Katherine Philips expresses the grief expected by any mother upon the loss of a child in her on the Death of My First and Dearest Child, Hector Philips. In this elegy readers may conflate the speaker with the poet. Her five four-line verses were set to music by the great Henry Lawes, the musician who convinced John Milton to write the celebratory masque COMUS, which he set to music for performance for an aristocratic family. In the third stanza the speaker questions how she can right her own fate or that of her child. Because the answer must be that she cannot, she can find no inspiration for action other than to write the elegy. As she explains, Tears are my muse, and sorrow all my art, thus commenting on her vocation as a poet and concluding, So piercing groans must be thy elegy. Philips metaphorically depicts her expression of grief in terms that reflect her efforts as a poet. Because the act of motherhood remains just as creative as the...

Cu Chulainn Setanta first century

Cu Chulainn was killed after breaking the geas (magical condition) laid upon him by Druids and becoming spiritually weakened. Lugaid, son of Cu Roi, killed his charioteer, his horse, and then, finally, Cu Chulainn himself. Emer died of grief soon afterward. According to tradition, the couple are buried in one grave, marked with an ogham stone.

T S Eliot and the wasteland of modernity

The automatic hand here is a synecdoche for the generally automatized life of the woman she works as a typist (itself a monotonous form of labor), and her movements of pacing the room, smoothing her hair, and putting a record on the gramophone suggest that she is caught in a groove from which she cannot escape. The typist can be compared with the other modern women who populate the poem, from Lil, a drained mother of five with rotting teeth, to the hysterical middle-class wife who declares to her husband, My nerves are bad tonight. Yes, bad. Stay with me. The lines also contain an allusion to Oliver Goldsmith's eighteenth-century novel The Vicar of Wakefield, in which the seduced and deserted Olivia sings that when lovely woman stoops to folly, the only solution to her shame and grief is to die. The modern woman in Eliot's poem - no Romantic heroine but a naturalistic inhabitant of the urban metropolis - has no intention of dying instead, her complete emotional detachment from her own...

Prithee send me back my

IRONY Irony indicates a discrepancy or incongruity, suggesting simply that matters are not as they appear. It may be in the form of verbal irony, in which figurative LANGUAGE a figure of speech indicates an opposite meaning of what is said. An example of verbal irony may be seen in Ben Jonson's touching tribute to his firstborn son, who died at age seven, On My First Son. After expressing his grief at his loss, the speaker notes that in the future, what he loves may never like too much. Obviously one cannot dislike what one loves Jonson actually suggests that too great a love may have been fatal to the loved one, whereas love generally is believed to be a nurturing emotion. A second type of irony is situational irony, in which the incongruity exists between actual circumstance and what might seem appropriate, or in the case of the following lines from John Donne's Good Friday, 1613. Riding Westward, between what is anticipated and what actually occurs And as the other spheres, by...

Affliction 1 George Herbert 1633

The persona begins by recalling When first thou didst entice to thee my heart, referring to an initial service brave to God. He recalls enormous joys, drawn from his own stock of natural delights, Augmented with thy gracious benefits. He continues to discuss the benefit he derived from thy furniture so fine, meaning all the trappings of a life publicly dedicated to service. The speaker felt the glorious household-stuff . . . entwine, with the verb entwine connoting, despite the upbeat tone, a trap, like that of a spider's web. Still, the speaker earned his wages in a world of mirth. As the third stanza opens, the persona asks the rhetorical question What pleasures could I want, whose King I served Where joys my fellows were, meaning he lived constantly with joy and lacked nothing. Herbert makes clear that his speaker confused service to God with that to an earthly king, complete with royal trappings. However, his statements become an argument of sorts, as he claims he did not realize...

On My First Daughter Ben Jonson

Published in 1616, the date of its writing remains unknown. A religious man, and a Catholic at the time of this poem's creation, Jonson adopts the attitude that all humans remain on loan from God, to whom they must return at his pleasure. As George Parfitt notes, Jonson held a specific moral vision constantly revealed in his poetry. He supported that vision through use of a recurrent ethical vocabulary, including terms such as virtue. In this poem he celebrates the preservation of his daughter's innocence, and, by implication, her virtue. The 12-line poem composed of rhyming couplets remains simple in sentiment, yet imbued with all of the complicated emotions a grieving parent would feel. Jonson opens as if standing over a new grave, stating, Here, lies, to each her parents' ruth , where ruth means grief, Mary, the daughter of their youth. The second line signals the loss as especially hurtful, as the parents are young and inexperienced, probably doting on their first girl child. The...

Dialogue between the soul

The body replies, asking who will deliver it From bonds of this tyrannic soul Although it warms and moves this needless frame (a fever could but do the same). Marvell includes antithesis and paradox, noting on the body's part, that the soul Has made me live to let me die. The body lacks rest, as a result of possession by the soul, the term possession generally applied to a satanic effect upon bodies. Not to be outdone, the Soul returns, asking, What magic could have confined it Within another's grief to pine The body's constant complaints are felt by the soul, which, by definition, should not feel fleshly reactions. Continuing his use of paradox, Marvell notes that the soul must work to preserve that which me destroys. Not only must the soul endure physical disease, but it must also take the cure along with the body.

Bibliography On The Use Of Figurative Language In Poetry

Herbert structures his poem in seven seven-line stanzas with a rhyme scheme of ababccb with varied meter and line length. His opening stanza compares the effect of the Lord's sweet and clean return to that of the annual return of the flower, which upon its arrival in spring causes grief to melt Like snow in May, As if there were no such cold thing. With return, Herbert references the act of God's reentering a human life after an absence of spirituality. The speaker reveals in the second stanza that his shriveled heart had for a time suffered separation from God, comparing his heart to the flowers that go Quite underground for a time,

Elegy Over A Tomb Edward Herbert

With his grief clearly reflected in his words, the speaker wonders why he must see, alas Eternal night Sitting upon those fairest eyes. Herbert offers a nice contrast between the speaker, who can see all, and the possessor of the fairest eyes, who can only view death, referred to through traditional figurative language as Eternal night. The beams from the beloved's eyes once did rise So radiant and bright their light and heat converted into Knowledge and love. Again, Herbert contrasts the deceased's previous condition, in which beams of light and life shot from her eyes, to her present condition, in which she sees only the darkness of death. The speaker then questions the deceased herself, asking whether she did delight no more to stay Upon this low and earthly stage, selecting instead an endless heritage, where she has stored all the beauty that those ashes ow'd. Herbert makes the point that beauty is ethereal and all things human will one day be reduced to elements, such as those...

The confessional moment

The first-person voice with little apparent distance between the speaker and the poet they were highly emotional in tone, autobiographical in content, and narrative in structure. The personal reflections of poets were no longer couched in the distanced idiom characteristic of both modernism and New Criticism. The mode of confessionalism - whether one approved of the term or not - served as a model for poets who chose to reject modernist difficulty and New Critical complexity in favor of a more relaxed or personal voice. It also allowed poets to articulate feelings, thoughts, and emotions that challenged the decorum of an era marked by its containment of psychic needs and desires. Responding to the tranquillized Fifties, as Lowell called them, these poets resisted midcentury cultural norms that demanded the repression of grief and the plowing under of traumatic experience. 4

Shakespeares sonnets Sonnet 90 Then hate me when thou wilt if ever now William

Shakespeare (1599) Sonnet 90 continues the thought developed in Sonnet 89. The speaker asks that, if the beloved young man plans to hate him, he do it now, so that this most disastrous blow will mitigate all later pain. If the hatred comes later, after lesser setbacks have occurred, it will strike an already grieving man as catastrophe. The sonnet is built around elements of time's contrasts then when, now then, first last and comparisons. All of these elements blend to make a poignant statement of the speaker's lack of confidence in the beloved's reliability. The third quatrain shows again the conditional nature of the speaker's preoccupation If thou wilt leave me . . . (l. 9). Here his concern is that he not be abandoned by the young man last, after petty griefs have done their spite (l. 10), because this would not be a petty grief, but the very worst (l. 12). The couplet underscores the message If you leave me, any other disaster will not seem disastrous by comparison.

Harper Michael S 1938 Michael

Although Harper's point of view is very personal, cultural issues of black America are the primary subject of his body of work. Several poems recount incidents of racism, not only against blacks but also against Hispanics and American Indians. Other poems are tributes to Coltrane, Parker, Bud Powell, Bessie Smith, and other musicians. A strong sense of family informs many of Harper's poems, particularly the poignantly rendered poems about the death of his newborn son. In Reuben, Reuben (1970), Harper shows how music can be a salve for those in pain. His son's death leaves the speaker in a forlorn state, with a pickle of hate so sour that he cannot access song or melody. For solace he reaches out for music. He finds that jazz provides comfort and something else. Where there is emptiness, the music, jazz, comes in, giving voice and expression to the speaker's unutterable grief. In his willingness to address difficult social issues in a strikingly personal way, Michael Harper plays an...

Description of a city Shower A 105

Cowley may have feared that she might become numb to all the joys of the world in her grief over the loss of her husband. She requests control of her thoughts, so that she might indulge in mental delights, as well as retention of her natural emotions, so that she can still experience passion over natural delights. Her own art, that of writing poetry, will help her in that experience.

The Poets and Their Work

The Deserted Village contains numerous indications that this poem is, at least on one level, an autobiographical account of Goldsmith's nostalgia for his childhood home and his grief about the sense of dislocation and financial hardship he experienced after he left (Goldsmith 1966 277 8). References to the village as Seats of my youth (l. 6) and home (l. 96) suggest that Auburn stands for Lissoy, while his bleak portrait of the city mirrors his own experience of London If to the city sped What waits him there To see profusion that he must not share (ll. 309 10). From a modern reader's perspective, Goldsmith's first-hand knowledge of the details he describes and his willingness to insert himself into the poem with his repeated use of I may provide reassuring grounding for the political argument. For eighteenth-century readers, however, such an approach would have appeared quite novel. Augustan poems with a serious political intent generally followed a different set of conventions from...

Silence And Stealth Of Days

Henry Vaughan (1650) Included in Henry Vaughan's religious poetry collection Silex Scintillans, Silence, and Stealth of Days expresses the poet's grief after the death of his brother, William, in the civil wars. Critics note it is one of the few poems by Vaughan that contain its own internal dating, as he writes, 'tis now Since thou art gone, Twelve hundred hours. This means 50 days had passed since William Vaughan's death, dating the poem during the first week of September 1648. After the time reference Vaughan incorporates light and dark imagery, as the speaker notes that clouds hang on, but like one in a cave Locked from the light who Fixeth a solitary lamp, To brave the night, he retreats back into time, unto that hour Which showed thee last. This second reference to time involves a flashback, as that hour has defeated his brother's light, and power.

Snodgrass William Dewitt

In many poems Snodgrass uses his personal history, 20th-century history, and timeless Orphic and Edenic myths to examine grief and loss. Candid and clinical, Remains (1970) examines his family's life and a sisters death at 25. In The Mouse, much like poetic ancestor Robert Burns, he finds that a small creature children feared dead becomes an emblem of lost innocence after the sister's death. With cutting irony he observes, Ridiculous children we could bawl Our eyes out about nothing. After Experience Taught Me declares training showed him that you must call up every strength you own And you can rip off the whole facial mask. Complacent students in The Campus on the Hill atop the world believe they have nowhere to go but down. In Hearts Needle, his child leaves, and he mourns how Indeed our sweet foods leave us cavities.

From The Vanity of Human Wishes The Tenth Satire of Juvenal Imitated

When first the college rolls receive his name, The young enthusiast quits his ease for fame Through all his veins the fever of renown Burns from the strong contagion of the gown O'er Bodley's dome his future labours spread, And Bacon's mansion trembles o'er his head Are these thy views Proceed, illustrious youth, And virtue guard thee to the throne of truth, Yet should thy soul indulge the gen'rous heat, Till captive science yields her last retreat Should reason guide thee with her brightest ray, And pour on misty doubt resistless day Should no false kindness lure to loose delight, Nor praise relax, nor difficulty fright Should tempting novelty thy cell refrain, And sloth effuse her opiate fumes in vain Should beauty blunt on fops her fatal dart, Nor claim the triumphs of a lettered heart Should no disease thy torpid veins invade, Nor melancholy phantoms haunt thy shade Yet hope not life from grief or danger free, Nor think the doom of man reversed for thee Deign on the passing world...

Franklins Tale The Geoffrey

In an attempt to distract her from her grief, her friends persuade her to go out walking near her castle, which overlooks the ocean. She looks down from the high cliffs to the rocks below, and her fear is intensified because Arveragus might be slain in the attempt to land a ship here. Again, her friends intervene, finding other places to walk, playing chess and backgammon, and taking her dancing. remainder of the fee. The philosopher is angered by this and asks, Hastow nat had thy lady as thee liketh (l. 1588). Aurelius tells the philosopher that he developed pity when he understood Dorigen's grief at the idea of being a wikked wyf (l. 1599). The philosopher answers that if a squire and a knight can act nobly, so can a clerk, and he releases Aurelius from the entire fee. Thy hast ypayed wel for my vitaille provisions . It is ynogh (ll. 1618-19).

Rudman Mark 1948 Mark Rudmans

In a 1997 interview, Rudman explains, A poem is not just a repetition of something everyone knows, in the Ecclesiastical sense. It throws a wrench into the knowledge that preceded it (125). Rudman particularly wrenches our knowledge of human mourning, memory, and grief. In The Nowhere Steps (1990), in which he elegizes his father, he writes briskly, Mourning is endless. Just when it seems as if recovery is near, grief seems to return Like a flash of sunlight on a curb, you're back in the work of grief, overcome. Later in the volume, a child's death spurs him to reflect again on the motion of grief unable to define it precisely, he calls it a gap, that the mind can only go around. For Rudman, mourning and grief are not simply experiences to be worked through or overcome rather they are a constant, uncontainable, and ungraspable reminder of loss. Rudman's sounds further emphasize this endlessness, rolling across the page in a sea of words composed of the letters s and l.

Line By Line Analysis Of Adam Posed By Anne Finch

Chatterton begins by inviting readers, o sing unto my roundelay O drop the briny tear with me, so that the audience joins in the song as well as the grieving of its persona. Although readers are invited to sing, the voice continues, Dance no more at holyday, Like a running river be, indicating that the song will not be one of celebration, as no dancing accompanies it. The comparison to a river is the first of many strong images that imbue the poem with a haunting and active quality. The dead man is compared to a dark winter night, with dark a traditional symbol of death, as is winter. The winter reference is reemphasized in the next line with the phrase summer snow, a paradox that represents nature's fracture of its natural order in the death of one too young to die. The lover's face is red as the morning light, where morning should represent a new beginning, but cold he lies in the grave below the willow tree, itself a figure of mourning with its branches that bend to the ground....

Burial Of An Infant The Henry

Vaughan (1650) Because he believed so strongly in the possibility of human regeneration through faith, Henry Vaughan did not fear death. It served as a topic for many of his poems, which often grew from his grief over his personal losses and those resulting from war. In observing part of the ritual of death in the burial of a baby, Vaughan turns to one of his occasional themes, that childhood represented a divine state. As did Thomas Traherne, he believed that all infants are born into the sinless state enjoyed by Adam, prior to his fall from grace and expulsion from the Garden of Eden. This may be seen in the opening stanza in which Vaughan adopts figurative language (figure of speech) to compare the Blest infant to a fragile blossom, its life only long enough for it to look about, and fall Wearied out in a harmless strife. The speaker makes clear that the world's problems may not be blamed on an innocent baby. The infant's expiration was done Sweetly, as its soul Flew home unstained...

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And who can marvel o'er thy grief, Or who can blame thy flowing tears, Who knows their source O'Donnell, Dunnasava's chief, Cut off amid his vernal years, Lies here a corse 1 The literal translation of this stanza runs as follows For God's sake, thy weighty sorrow banish away, O daughter of O'Donnell Short time till thou in self-same guise must tread the way the same path's weariness awaits thee. In hand of clay put not thy trust. . . . Think on the cross that stands beside thee, and, in lieu of thy vain sorrowing, from off the sepulchre lift up thine arm and bid thy grief begone. O'Grady's Cat. of MSS. in the Brit. Mus., pp. 372-73.

Nurses Song Innocence

Can I see anothers woe, And not be in sorrow too Can I see anothers grief, And not seek for kind relief. And can he who smiles on all Hear the wren with sorrows small. Hear the small bird's grief & care Hear the woes that infants bear 0 he gives to us his joy. That our grief he may destroy Till our grief is fled & gone He doth sit by us and moan Can I see another's woe, And not be in sorrow too Can I see another's grief, And not seek for kind relief And can He who smiles on all Hear the wren with sorrows small, Hear the small bird's grief and care, Hear the woes that infants bear -- Oh He gives to us his joy, That our grief He may destroy Till our grief is fled an gone He doth sit by us and moan.

Ibn Alalaf Alnaharwanyp 124

The occasion of this odd composition and its real intent are variously related. Some say that it means no more than it pretends to do, and that it was actually composed on the death of a favourite Cat. Others tell us that the poet here laments the misfortunes of Abdallah Ebn Motaz, who was raised to the Khalifate by a popular tumult, a.h. 296 a.d. 908 , and, after enjoying his dignity a single day, put to death by his rival Moctader. As the poet durst not show his grief for Abdallah in a more open manner, he invented, according to these authors, this allegory, in which the fate of Abdallah is represented under that of a cat. But the opinion most generally received is that these verses were composed as an elegy upon the death of a private friend, whose name is not known, but who, like Abdallah, owed his ruin to the rash gratification of a headstrong passion. This young man entertained an affection for a favourite female slave belonging to the vizier Ali Ben Isa, and was equally beloved...

On The Death Of Abu Alhassan Alip 167

On his death the Khalif was inconsolable he resorted frequently to the tomb of his son, where he shut himself up, and abandoned himself to the most extravagant expressions of sorrow. Nor were the inhabitants of Bagdad less affected with the death of this amiable young prince there was scarce a house in the city, we are told by a historian, which did not resound with lamentation, nor a countenance that was not depressed by grief. Alnassar died a.h. 622 a.d. r225 , having survived his son ten years.

London David Nutt 1914

The Death of the Hired Man and Home Burial dramatize domestic strife, both centering upon definitions of home. In the former, the wife Mary sees a more organic connection between domestic order, human community, and the broader cycles of nature, than her husband, and sees an obligation to the unreliable and dying worker Silas who has come to them. Her husband, Warren, takes a harder, more practical position, although his wife's arguments and tenderness finally win him over. In Home Burial, based upon the death of Frost and Elinor's first-born son at the age of 3 in 1900, the wife also takes a broader view of home, wanting to share her grief outside the home with someone other than her husband. But both husband and wife take a narrow view of the ways in which the other deals with grief, for she condemns his attempt to cope with the loss by continuing with his routine, while he insists that she keep the expression of her grief within the emotional confines of the marriage and the...


Can I see anothers woe, And not be in sorrow too. Can I see anothers grief, And not seek for kind relief t23 And can he who smiles on all Hear the wren with sorrows small, Hear the small birds grief & care Hear the woes that infants bear-- That our grief he may destroy t24 Till our grief is fled & gone

Cleveland John

In the third section, Finch compares Apollo to Paris, the son of Troy's King Priam, who had to select the most beautiful woman in the world from the goddesses Hera, Aphrodite, and Athena. obviously such a selection could only lead to grief, as the two not chosen would be angered and hurt. Apollo prevents a possible problem by choosing not to choose, a decision that shows his wisdom. He notes all are equally deserving, And that 'twere injustice one brow to adorn With a wreathe which so fitly by each might be worn. He judiciously decides to refer the selection to Parnassus and the female muses who lived there, as he had to depart to drive his mythical chariot across the sky, pulling the sun behind him. He leaves the choice to the female muses, as Finch explains in her final three lines,

Endymion Book II

0 Sovereign power of love 0 grief 0 balm Brain-sick shepherd-prince, What promise hast thou faithful guarded since The day of sacrifice Or, have new sorrows Come with the constant dawn upon thy morrows Alas 'tis his old grief. For many days, Has he been wandering in uncertain ways Through wilderness, and woods of mossed oaks Counting his woe-worn minutes, by the strokes What misery most drowningly doth sing In lone Endymion's ear, now he has caught The goal of consciousness Ah, 'tis the thought, The deadly feel of solitude for lo He cannot see the heavens, nor the flow Of rivers, nor hill-flowers running wild In pink and purple chequer, nor, up-pil'd, The cloudy rack slow journeying in the west, Like herded elephants nor felt, nor prest Cool grass, nor tasted the fresh slumberous air But far from such companionship to wear An unknown time, surcharg'd with grief, away, Was now his lot. And must he patient stay, Tracing fantastic figures with his spear No exclaimed he, why should I...


Imagine the world Fisted to a foetus head, ravined, seamed With suffering from conception upwards, and there You have it in hand. Grit in the eye or a sore Thumb can make anyone wince, but the whole globe Expressive of grief turns gods, like kings, to rocks. Those rocks, cleft and worn, themselves then grow Ponderous and extend despair on earth's Dark face.

Di Prima Diane

Musical ear and keen eye they balance on a car door riding rat-chewed coach seats, they roller-spread a sky. In Rough Music, the formal elements are more diffuse, but they help to contain the ratcheting up of emotion. As Baker suggests, in these poems, technical strategies provide a series of frames by which to contain grief and to 'atone' for disaster or destruction with discipline (201).

Doty Mark

DOTY, MARK (1953- ) Mark Doty has written openly and passionately about being gay and about the personal grief he has felt in the AIDS epidemic, but his concerns and sensibility have never been confined by identity politics or by championing a particular group or movement, although such a poem as Homo Does Not Inherit (1995) is an unflinching indictment of religious homophobia. Like Marianne moore, an important influence, he responds to the natural world with a precision and discrimination that may include allegory or autobiography. In Difference, from My Alexandria, a volume selected for the 1993 National Poetry Series, he writes about a jellyfish that looks like a plastic purse swallowing itself, a description as odd and accurate as any of Moore's metaphors. Moreover his call at the end of the poem to look unfettered at alien grace suggests the moral, aesthetic, and personal terms that underlie Moore's poems. Nevertheless Doty's work contains sinuousness, a consolation, even a...

Dugan Alan

Certainly the fact that There sat down, once, a thing on Henry's heart so heavy ( 29), a grief that never got up, is the source of these sorrowful songs. Henry is scared a lonely (i.e. scared and lonely ) ( 40), afraid of himself most of all he thinks it easy be not to see anyone ( 40). Admissions such as these deserve a listener, because of their courage and vulnerability, in spite of their confusing inaccessibility. Henry might experience the more conventionally poetic desire for a woman, Filling her compact and delicious body with chicken paprika ( 4), a woman whose virtue is saved only by the fact that she and Henry are in the company of five other people, but he still has that thing sitting on his heart, and, as long as it sits, Henry needs to talk out his own therapy He stared at ruin. Ruin stared straight back ( 45). It may be that these songs are Berryman addressing his own ruin, trying to stare it down, even though he is scared a lonely.

Art Pepper

The night is going to burst inside him. The wind is going to break loose forever From his lungs. It's the fury of improvising, Of going on alone. It's the fierce clarity Of each note coming to an end, distinct, Glistening. The alto's full-bodied laughter. The white grief-stricken wail.


1 must rush again to War for the Virgin has frownd & refusd Sometimes I curse & sometimes bless thy fascinating beauty Once Man was occupied in intellectual pleasures & energies But now my soul is harrowd with grief & fear & love & desire And now I hate & now I love & Intellect is no more


Absorb me not in such dire grief O Albion, my brother Jerusalem hungers in the desart affection to her children The scorn'd and contemnd youthful girl, where shall she fly Sussex shuts up her Villages. Hants, Devon & Wilts Surrounded with masses of stone in orderd forms, determine then A form for Vala and a form for Luvah, here on the Thames Where the Victim nightly howls beneath the Druids knife A Form of Vegetation, nail them down on the stems of Mystery O when shall the Saxon return with the English his redeemed brother

Matthew Prior

They neither added, nor confounded They neither wanted, nor abounded. Each Christmas they accompts did clear And wound their bottom round the year. Nor tear, nor smile did they employ At news of public grief, or joy. When bells were rung, and bonfires made, If asked, they ne'er denied their aid Their jug was to the ringers carried, Whoever either died, or married. Their billet at the fire was found, Whoever was deposed, or crowned.


But when fourteen summers & winters had revolved over Their solemn habitation Los beheld the ruddy boy Embracing his bright mother & beheld malignant fires In his young eyes discerning plain that Orc plotted his death Grief rose upon his ruddy brows. a tightening girdle grew Around his bosom like a bloody cord. in secret sobs He burst it, but next morn another girdle succeeds


Recievd her in the darkning South their bodies lost they stood Trembling & weak a faint embrace a fierce desire as when Two shadows mingle on a wall they wail & shadowy tears Fell down & shadowy forms of joy mixd with despair & grief Their bodies buried in the ruins of the Universe Mingled with the confusion. Who shall call them from the Grave


One fire burns out another's burning One pain is lessened by another's anguish Turn giddy, and be helped by backward turning One desp'rate grief cures with another's languish Take thou some new infection to the eye, And the rank poison of the old will die. Romeo and Juliet, Act i. Sc. 2. SHAKESPEARE.

Orpheus and Eurydice

Vergil tells the story in the Georgics, but as it was well known, he does not give the full narrative. Instead, he describes the main scenes the grieving Orpheus, his descent into the Underworld, the effect of his singing, and the final tragic parting with Eurydice. O queen, you hid me recall unspeakable grief.

The Weepers

They wept in great, undignified, blubbering fits, and what could we do to console them How would we dry them out or pick them up who went to pieces, broke down, or burst out, invoking, in their sniffling, our own names, our bleak deeds, our most embarrassing dreams Did they prefer things streaked and blurred, the colors of houses merging with the colors of trees, the lawns melting into the streets, the dun sky running and smearing the station where the vague buses were always going away Pity was too common for them, and sympathy. Neither were they truly sad. They wept best when there was no legitimate reason for tears, no recent widow walking her mongoloid son, no deaf student sodomized behind the gym, no mendicant with his lyrics of a suicidal girl. They did not believe in despots or atomic bombs. They wept on celebration days, when picnics were spread by pretty lakes or bronze plaques were engraved with their names. They wept sagas and epics. It was their talent to weep. Their...

From Beowulfl

Their mighty prince, 130 the storied leader, sat stricken and helpless, humiliated by the loss of his guard, bewildered and stunned, staring aghast at the demon's trail, in deep distress. He was numb with grief, but got no respite 135 for one night later merciless Grendel

Anne Sexton

The dominant gesture of the poem is one of refusal the speaker refuses to ride in the funeral procession the parents refuse to be blessed in their dying and the poem itselfrefuses to allow the familiar poetic tropes ofnature as consolation or of the elegy as redemption. Nature is presented in terms that suggest indifference or even menace in a series of striking images, the sun gutters from the sky, the sea swings in like an iron gate, and the wind falls in like stones. Even in her attempt to escape human society for the natural world, the speaker can only find metaphors taken from the human realm. Gutters and gates both represent liminal zones, boundaries between one space and another between the speaker and her dead parents, or in psychological terms between the speaker and her ability to experience the cathartic emotions ofgriefand mourning. At the same time, the stones seem to be hurled at the speaker and her lover by an angry, whitehearted sea, as if punishing her for her refusal...


And range with humble livers in content. Than to be perked up in a glistering grief, And wear a golden sorrow. King Henry VIII, Act ii. 5c. 3. SHAKESPEARE. On me, on me Time and change can heap no more The painful past with blighting grief Hath left my heart a withered leaf. Time and change can do no more. Dirge. R.H. HORNE.

The Wifes Lamenti

I sing this song about myself, full sad, My own distress, and tell what hardships I Have had to suffer since I first grew up, Present and past, but never more than now I ever suffered grief through banishment. For since my lord departed from this people Over the sea, each dawn have I had care Wondering where my lord may be on land. When I set off to join and serve my lord, 10 A friendless exile in my sorry plight, My husband's kinsmen plotted secretly How they might separate us from each other That we might live in wretchedness apart Most widely in the world and my heart longed. 15 In the first place my lord had ordered me To take up my abode here, though I had Among these people few dear loyal friends Therefore my heart is sad. Then had I found Contrive to set at rest my careworn heart, Nor all the longing that this life has brought me. A young man always must be serious, And tough his character likewise he should 45 Seem cheerful, even though his heart is sad With multitude of...


The application of this concept to poetry is obvious. The foregrounded figure is the linguistic deviation, and the background is the language - the system taken for granted in any talk of'deviation'. Just as the eye picks out the figure as the important and meaningful element in its field of vision, so the reader of poetry picks out the linguistic deviation in such a phrase as 'a grief ago' as the most arresting and significant part of the message, and interprets it by measuring it against the background of the expected pattern (see 2.4). It should be added, however, that the rules of the English language as a unity are not the only standard of normality as we saw in Chapter x, the English of poetry has its own set of norms, so that 'routine licences' which arc odd in the context of English as a whole are not foregrounded, but rather expected, when they occur in a poem. The unique creative innovations of poetry, not the routine deviations, are what we must chiefly have in mind in this...

Rand Brandes

If our deepest grief could speak, it would speak Crow. Crow is Ted Hughes's most bleak and disturbing volume. No one who truly engages Crow can forget it it becomes a terrible touchstone in one's memory field. In retrospect, Crow is clearly Hughes's 'dark night of the soul', and it is disturbingly prophetic. Hughes's fourth volume, published in 1970, Crow follows the dark world of Wodwo (1967), haunted shadows and ghosts, to its source, a black hole where neither light nor language can escape. In Crow's world the heaviness of History, with its perpetual genocides and wrong turns, crushes hope mass graves litter the landscape. DNA, with its Darwinian determinism, intertwines with the self-fulfilling prophecies of Christianity in an Apocalyptic danse macabre. Logic and reason, severed from intuition and emotion, lead to deadly technologies and environmental disasters. The oppressed Id wreaks its revenge as Oedipus dies with Ophelia. In the end, only the singing 'soul' or savage spirit...

John Crowe Ransom

As in many of Ransom's poems, we find the theme of mortality, but his treatment of the theme is very unusual. The poem is certainly not a typical elegy, in which the primary purpose is to express grief at the death of a loved one further, the poem's resolution provides no sense of consolation or compensation for the loss of the young girl. Both the somewhat proselike rhythms and the oddly stiff diction of the poem create a distance from the events described. In Ransom's own terminology, the structure of the poem is that of a traditional elegy, but the texture remains in an uneasy tension with the elegiac form. Even the poem's title distances us from its subject the girl, whose first name is never given, is referred to only as John Whiteside's daughter. In the poem itself, the words astonishes and vexed suggest that rather than an outpouring of grief at the death of the little girl, the narrator experiences surprise and vexation at an event which has upset our human calculation....

With Crossreferences

Adversity Comfort Consolation Cowardice Grief Life Loss Memory Patience Forget Forgive Grief Grief Adversity Death Grave Mourning Resignation Memory Blessing Grief Happiness Joy Mourning Death Grief Patience Adversity Grief Mourning Resolution Sorrow Resignation Adversity Comfort Grief Sorrow Sorrow Adversity Comfort Consolation Grief Loss Patience Tear Grief

Lores Miseries

Remain behind, you to whom the god nods with receptive (lit., easy) ear, and may you always be equally matched in a secure love. For our Venus torments me throughout bitter nights, and at no time is ungratified Love absent. Avoid this scourge, I warn you let everyone be occupied with his own care (lit., let his own care occupy each person), nor let him change his bed when love has become familiar (lit., love having become familiar). But if anyone turns deaf ears to my warnings, alas with what great grief will he recall my words


Peace, brother be not over-exquisite To cast the fashion of uncertain evils For, grant they be so, while they rest unknown, What need a man forestall his date of grief, And run to meet what he would most avoid Or, if they be but false alarms of fear, And took in strains that might create a soul Under the ribs of Death. But, oh ere long Too well I did perceive it was the voice Of my most honoured Lady, your dear sister. Amazed I stood, harrowed with grief and fear And RO poor hapless nightingale, thought I, How sweet thou sing'st, how near the deadly snare Then down the lawns I ran with headlong haste, Through paths and turnings often trod by day, Till, guided by mine ear, I found the place Where that damned wizard, hid in sly disguise (For so by certain signs I knew), had met Already, ere my best speed could prevent, The aidless innocent lady, his wished prey Who gently asked if he had seen such two, Supposing him some neighbour villager. Longer I durst not stay, but soon I...

Elizabeth Bishop

Depending on how we read the poem, this change may seem like the heroic reserve of a woman who - like her predecessor Marianne Moore -refuses to make her poetic art a place for expressing her personal grief. Or it may look like the gesture of a poet who so deeply repressed her own feelings that she can only express herselfin the most restrained and equivocal manner. In either case, Bishop's poem remains a monument to the process of poetic composition in the late twentieth century.

Robert Crawford

At the start of the 1920s Einstein's visit to England excited not only writers but also the general, newspaper-reading public. 'Einstein the Great', T. S. Eliot called him, with an ironic smirk, surveying the press coverage for a 'London Letter' contributed to the American magazine The Dial in July 1921. Rose Macaulay, writing 'probably the first significant novel in the English language to make direct use of Einstein's theories', presents in her media story Potterism (1920) the newspaper headline 'Light Caught Bending'.1 In Scotland, later in the same decade, Hugh MacDiarmid ended one of his greatest lyric poems, 'Empty Vessel', by writing of a woman's grief for her dead child, 'The licht that bends ower a' thing I Is less ta'en up wi't.'2 So it was that Einstein caught the imagination of American, English, and Scottish writers.

Greek Birth-agonies

Boyd's poem appeared in a collection titled The Humorous Miscellany, its hopeful title not reflective of some of its subject matter, including Boyd's poem. She adopts a plaintive and sympathetic voice, that of a mother deep in mourning over the death of her baby boy. The speaker begins by declaring, How frail is human life How fleet our breath, Born with the symptoms of approaching death intriguing in its consideration of the tremulous nature of life as merely a prelude to death. The tone is one of inconsolable grief, its word choice both sharp and disturbing


Thou toldest me to weave thee to the beam by thy strong hair I did even that to try thy truth but, when I cried The Philistines be upon thee then didst thou leave me to bewail that Samson loved me not.' He sat, and inward griev'd he saw and lov'd the beauteous suppliant, nor could conceal aught that might appease her then, leaning on her bosom, thus he spoke Hear, 0 Dalila doubt no more of Samson's love for that fair breast was made the ivory palace of my inmost heart, where it shall lie at rest for sorrow is the lot of all of woman born for care was I brought forth, and labour is my lot nor matchless might, nor wisdom, nor every gift enjoyed, can from the heart of man hide sorrow. Twice was my birth foretold from heaven, and twice a sacred vow enjoined me that I should drink no wine, nor eat of any unclean thing for holy unto Israel's God I am, a Nazarite even from my mother's womb. Twice was it told, that it might not be broken. Grant me a son, kind...

The Shade of Dido

Unhappy Dido, so was the message true that had come to me that you had died and that you had sought your own end with a sword Alas, was I the cause of your death (lit., of death for you) I swear by the stars, by the gods, and if there is any faith below the deepest earth, unwillingly, O queen, I went from your shore. But the commands of the gods, which now force me to pass through these Shades, through places squalid with neglect, and through bottomless night, drove me with their orders nor could I believe that I was bringing such great grief as this (lit., this so great grief) for you by my leaving. Halt your step and do not withdraw yourself from my sight. From whom are you fleeing The words I am saying to you are the last allowed by fate.

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