Cosmic Transcendence

The Cosmic Transcendence Technique

This product will get you to achieve a state of consciousness that you have never heard of. It is a cosmic transcendence technique that will elevate your clarity and intelligence through a deep relaxation that will allow you to experience a different reality in another dimension outside of your body. It will allow you to connect with the universal entity and get you to experience realities that your mind can alter. The product is made into three phase of videos and audio tracks, the first one includes an introduction to your experience and cosmic self, the second and the third will get to you to apply these mind states in a reality that you can create. It also can get you to transform your life forever by training your brain to do things in other cosmic entities which will enhance your mental capabilities in real life and transcend your state into a higher one. Moreover, it will get you to create relationships with other cosmic beings win the other greater dimensions. However, this product is not suitable for people who are under psychological treatment or medication. It is also not suitable for people under the age of eighteen and people who are under mind-altering drugs. Continue reading...

The Cosmic Transcendence Technique Summary


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The Shrine and the Burning Wheel

On the way to the evening reading, Stopped at a Quick Stop for cigarettes, I saw, as did everyone else parked there Or passing, a gang of boys, Local boys probably, Burning the front wheel of a ten-speed. The bicycle, turned upside-down, Stood on the dumpster-side of the store, And one boy glanced from the corner Through the front window. Transcendence, that's what It means to want to be gone As, turning the eye's corner To the sudden glare of fire, The local terror stares in your face. To Renascence and A Few Figs from Thisdes And one that rhymed striped pants and Paris, France. Bo Dee remembers how As Huxley went on And on introducing her, Edna Millay shook the dandruff from her hair. Transcendence is not Going back To feel the texture of the past Like the velvet nap of the loges In the Shrine. It is wanting to be Anywhere else. Clearly, I don't understand. The wheel spins. It is not hard to ignite The hard lean tire with lighter fluid. It flashes and a round of smiles Breaks in the...

Hirsch Edward 1950 Edward

Lament and praise, Hirsch has said, are two fundamental poetic impulses. His frequent return to the topic of insomnia permits him to engage in both. Darkness affords an opportunity for the elegiac in Four a.m. (1994), which describes that hour as nausea at middle age and the very pit of all the other hours. But the coming of morning in Dawn Walk (1986) sparks thanks to the soothing blue gift Of powdered snow His poems struggle to balance a desire for transcendence with a concern for individual suffering. Although he has called poetry similar to prayer (Mariani 56), his need to return always to the difficult work of ordinary living is expressed in Earthly Light (1994), which concludes that it is not heaven but earth that needs us because Earth is so fleeting, so real.

Amoretti Sonnet 68 Easter Sonnet Most glorious Lord of lyfe that on this day Edmund

The otherworldly aspect of this stanza is offset by its presence between Sonnet 67, which makes use of hunting imagery, and Sonnet 69, which invokes warriors and conquest. It is as if the author were trying a range of imagery to define his relationship to the object of his affection rather than establishing the Lord's love as its only worthy measure (l. 9). Some critics have used this stanza to highlight the tension throughout the poem between the Neoplatonic philosophy of transcendence (in which human love leads us to divine love) and acknowledgement of human limitations, for human life is lyke but not equal to the divine.

Kostelanetz Richard 1940

Mortality and the counterbalancing thrust for life are the recurrent themes of Kumin's poetry Kumin's reexamination of these themes is distinguished by the unsentimental steadiness of her gaze. Sometimes dubbed Roberta Frost, Kumin does share in common with Robert frost the dedication to form, the New England sensibility, and the use of nature as a subject, but Kumin is no feminine derivative of Frost. Perhaps her most striking difference from Frost is her forthright rejection of transcendence. Nature in a Frost poem is emblematic the woods he stops in, or in which his roads diverge stand in for something beyond themselves, and they are more a landscape of the mind than an actual landscape (see the road not taken and stopping by woods on a snowy evening ). In Kumin's poems, by contrast, nature is always materially there, even when it additionally performs metaphoric work The cats clean themselves after the kill. A hapless swallow lays another clutch ( The Green Well 1992 ). In Alicia...

Hadas Rachel 1948 Rachel Hadas

Combines both traditional and postmodern poetic forms with a background in classical Greek, infusing commonplace topics with elegiac and transformational elements (see prosody and free verse). Her poems deal with universal issues of mortality, metamorphosis, and rebirth but also include personal moments of emotional vulnerability. Hadas has been influenced by James merrill, who turned away from the modernism of T. S. eliot to a poetics of transcendence.

Deep Image Robert Bly and James Wright

The clue that we are now turning to the speaker's mystical vision comes with the word suddenly. From here on, considerable effort is made to remove the division between objectivity and subjectivity. The speaker's solitude allows him to descend into a state of mind in which ordinary things suddenly become defamiliarized and are perceived in a new and unusual fashion. As in many Bly poems, things are seen as gravitating toward the earth, as if in a rejection of any gesture of transcendence. The houses are built on the ground the moonlight is shining down upon the water the people in the boat are below the road and even their talking seems drawn down away from the speaker. The speaker's mystical vision comes to be expressed as physical proximity to the earth, a state in which aesthetic vision is possible. Many ofthe images intermingle elements ofboth speaker and world to express a deep union between the two. Even the name of the Lac Qui Parle ( lake which speaks ) River - an actual river...

On Leaping Over The Moon

Two childhood anecdotes inform the poem, as Tra-herne describes his brother leaping over a stream in which the moon's reflection appeared and incorporates his brother's remark that the moon once followed him as he walked to town. From the poem's title a reader may anticipate Traherne's contrast of earth and sky. Traherne also employs imagery of space and location to unify his praise of, and gratitude toward, God for erasing the necessity to distinguish between high and low, up and down, as his brother enjoys transcendence of earthly bondage. In addition critics note Traherne used as a source a quotation from the work Christian Ethics, 445, quoting Hermetica, 11 (2) A Discourse of Mind, also a source for other of his work. In that discourse the speaker tells his audience that all they need do is bid their soul to travel about the universe, and it will comply. The emphasis on faith as superior to human imagination remains strong, as the speaker begins by noting that

Gary Snyder and Galway Kinnell

In the final two sections, the poet struggles between the need for transcendence and the realization ofmortality. The flight ofbirds is offset by the hug of the earth, which wraps with moss their graves. The ending of the poem is particularly striking in its use ofthe natural world as a reflection of the speaker's own troubled psyche

Simic Charles 1938 Charles Simic is

The most recognizable feature of Simic's poems is that they never take anything for granted. They create their reality out of the most trivial, random, and incoherent parts of life, with a result that is often unsettling, but also unexpectedly profound. His poems achieve transcendence by taking ordinary shortcuts.

Student Writing Center American Poetry

In his poem On the Oregon Coast, Galway Kinnell describes a conversation with fellow-poet Richard Hugo in which the two agree that as post-Darwinians it was up to us to anthropomorphize the world less and animalize, vegetable-ize, and mineralize ourselves more. We doubted that pre-Darwinian language would let us. This attempt to make language express the self's folding into the elemental world around it produces the subjects frequent in Kinnell's poetry the primal rhythms of birth and death, transcendence and mortality, raw confrontations of survival, sexual love, memory, and time. Kinnell's poetry is first and foremost personal. Sometimes his subject is a member of his family - perhaps a son's birth or a young daughter's nightmare - but the poetry is rooted in the poet's response to and meditation upon what the experiences might reveal of the human place in a world outside of human order and understanding. The poet for Kinnell is finally an

Part Iv

Historically speaking, the feminine has been constituted of the refuse of masculine transcendence (Schor 1994 48), and as such is not a fixed category but rather a catch-all for things not male. As the shadow side of men's lofty self-projections, the feminine tends always toward entropy and chaos. Woman is matter too soft a lasting mark to bear, as Pope famously puts it (An Epistle to a Lady, l. 3), and she therefore threatens always to slide back into more rudimentary states of being lustfulness and sexual disorder, to be sure, but also madness, self-absorption, triviality, and emotionalism. This relational understanding of femininity, coupled with the idea that woman is by nature more primitive and therefore more irrational, bodily, and sexual than men, gives rise in the eighteenth century to the widely held negative stereotypes described by Felicity Nussbaum in her valuable study of misogynistic satire in the period. Women are vain, inconstant,...

Steele Timothy 473

Grounded in an ethos of personal, moral, spiritual, and civic responsibility, Stafford's work is imbued with both a childlike wonder and a sense of mortality. Many of his poems are autobiographical, although not confessional. The speaker in the poems is a wise, gentle, avuncular persona who perceives order and connection in the universe and offers hope for the future, while pointing out problems of the present. In the poems there can be delight in the ordinary and the possibility for transcendence through apocalypse necessary for personal, environmental, and societal salvation to occur.

Eliot Thomas Stearns

Louis, Missouri. He attended Harvard University (1906-10) and studied at the Sorbonne (1910). There he read the symbolists, who believed that language, particularly the use of symbol, is the vehicle for transcendence and allows the reader's imagination, by use of association, allusion, and allegory, an alternate reality. He returned to Harvard to pursue a dissertation on F. H. Bradley, whose book Appearance and Reality (1893) made an impression, by Eliot's own account, on Eliot's prose style. Eliot eventually settled in London (without a Ph.D.) in 1914, where he met Pound and T. E. Hulme, whose writings and theories on imagism extended the symbolist influence the imagist school's dry hard image became the new vehicle for transcendence (Stead 38), enacting what Bergson called a true understanding of experience that is reflected by an immediate datum of consciousness. In other words, truth is found in the contemplation of whatever is present. Eliot was confirmed in...

The New York school

While Ashbery's poem is in part a lament for Orpheus, it also makes fun of him, depicting him as an almost comic-book figure. The opening lines are written in an exaggeratedly simple style Of course, Eurydice was a part Of this. Then one day, everything changed. For Ashbery, the mere fact that a story has become canonized as myth does not give it any special status. Unlike Pound, who sought in the myths of the past the luminous details that would express the essence ofa particular culture, Ashbery treats the stories of the mythic past as he would any story of contemporary life. After all, the stories of most people and their lives - even those which are important in their day - disappear into libraries, onto microfilm, where only a few are still interested in them. The myths of the past are by nature no more interesting than modern life or the artifacts of popular culture which Ashbery explores in poems like Daffy Duck in Hollywood and Farm Implements and Rutabagas in a Landscape. In...

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