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He is faithful to sympathize when we have burdens and problems Heb. We never need fear that He is too busy to listen or too tired to help. He is faithful to deliver when we cry out for help in a time of temptation 1 Cor. He is faithful to keep us in this life and unto life eternal 1 Tim. Yes, we can commit our lives and souls into the hands of our faithful Creator 1 Peter 4: In times of trouble we need to imitate Jeremiah who looked away from himself to the Lord, and who waited on the Lord in patience and faith 3: Too often we look at ourselves and our problems and become so discouraged that we quit.

When your heart becomes overwhelmed by the circumstances of life, and you feel that even God has deserted you. Remember, His mercies , His compassion s, and His faithfulness and you will be able to have hope in the midst of any storm. As we sing it I want you to think about all the fresh blessings that God has given you today. Great is thy faithfulness, O God my father, There is no shadow of turning with thee: Thou changest not, thy compassions, they fail not, As thou hast been, thou for ever wilt be.

Summer and winter, and springtime and harvest, Sun, moon and stars in their courses above, Join with all nature in manifold witness To thy great faithfulness, mercy and love. Pardon for sin and a peace that endureth; Thine own dear presence to cheer and to guide; Strength for to-day and bright hope for to-morrow: Blessings all mine, with ten thousand beside! Great is thy faithfulness, O God my father, Morning by morning new mercies I see; All I have needed thy hand hath provided, Great is thy faithfulness, Lord unto me. He acknowledges the of mercy of God: We are not consumed.

These streams followed up to the fountain: God is an inexhaustible fountain of mercy, the Father of mercies. Note, We all owe it to the sparing mercy of God that we are not consumed. Others have been consumed round about us, and we ourselves have been in the consuming, and yet we are not consumed; we are out of the grave; we are out of hell. That even in the depth of their affliction they still have experience of the tenderness of the divine pity and the truth of the divine promise.

These rivers of mercy run fully and constantly, but never run dry. That great is his faithfulness. Though the covenant seemed to be broken, they owned that it still continued in full force; and, though Jerusalem be in ruins, the truth of the Lord endures for ever. Note, Whatever hard things we suffer, we must never entertain any hard thoughts of God, but must still be ready to own that he is both kind and faithful.

The Lord is my portion, saith my soul; that is,. Therefore will I hope in him. I will stay myself upon him, and encourage myself in him, when all other supports and encouragements fail me. Logos Research Systems, Inc. A new translation of the Holy Scriptures according to the traditional Hebrew text. Good New Translation - Second Edition electronic ed.

The Bible in contemporary language La 3: The exhaustive concordance of the Bible: Showing every word of the test of the common English version of the canonical books, and every occurence of each word in regular order. Dictionary of Biblical Languages with Semantic Domains: Hebrew Old Testament electronic ed. Tyndale concise Bible commentary. The Tyndale reference library Page New Mercies Every Morning-Lam 3. Subscribe to copy text Sermon Tone Analysis. Jeremiah said two things concerning the compassions of God.

NIV We must learn to see each day as a gift from our loving compassionate heavenly Father. He saw the indiscriminate slaying of the populace. He saw the Temple of God profaned, and then destroyed. He saw the fires consume the city. He is now viewing the ruined remains. He feels as though God has become their enemy. He has torn us like a bear or a lion. He has broken my teeth with gravel stones. The effect that this had on the prophet.

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He felt that he had drunk the cup of bitterness. He felt that he had lost touch with God. He felt great turmoil within. To put meaning on the table means one does not need to reject previous meanings and readings in order to assert another — there is enough room for conflicting or just different interpretations with multiple causes. There is enough room on the table for readings based on representation, be it symbolic or cryptographic, and for writing that goes beyond representational aspects of language.

Recent readers have certainly been right to emphasize the female and lesbian world encoded in the poems, and I do not mean to displace these readings, rather only to juxtapose them with others. But we also clear the table too quickly if we assume that representation plays a strictly realist or symbolic role in these poems.

Marianne DeKoven is right to declare that referentiality is thoroughly undone: Every sentence is both doing and undoing, attaching and detaching. Each sentence sensitizes, but sense quickly recedes as the next sentence comes in. Sensation at times lines up with and at times diverges from cognition. Meaning is just out of reach, and right there on the table.

Tendres reproches No. 3 in Do diesis minore, Op. 72: Allegro non tanto e agitato

Stein provides her own disclaimer to this effect: It is not that Stein intends outright nonsense; rather, she writes in a state prior to a determinate distinction between sense and nonsense: In practice, this means Stein writes in a way that is sincere and concentrated on an object or a moment or a person, but is nonjudgmental and nonpossessive about what words appear while in this state of concentration. This factor of structural illegibility has several implications. While immersed in composition, Stein typically writes without knowing where she will go and when she will finish, and sometimes it is the page length of a notebook that seems to determine when a piece is finished though she often does some revision.

Contrary to The Making of Americans , in Tender Buttons Stein writes without a predetermined theory of total comprehension or absolute knowledge.

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A minimal amount of illegibility remains unyielding in a writing that recognizes an inherent indeterminacy of cognition and experience. We will never know all of what can happen or how all writing can be written, we can only continue to compose. We can only wade through the continuous present, orienting ourselves by the material or symbolic aspects of words as they appear in a state of writerly concentration.

Photograph courtesy of the Beinecke Library. Illegibility is partially structural in that Stein does not allow meaning to settle on one interpretive system, instead continually moving between sound and sense, normative and nonnormative grammar, familiarity and alienation, immersion and exclusion. Things are domestic, humanized, but also at turns recalcitrant, alienated, or lost rather than consumed. Sense is made and unmade; indeed, both predication and nonpredication are forms of truth. It might be more correct to say that Stein writes in a way that is prior to making these binary distinctions.

Normative grammar relies on subject and object distinctions, and to the degree that Stein generates a writing that is prior to this binary, she also reaches for a form of experience prior to normative legibility. The illegible faithfully leaves a minimal margin of otherness intact. It also conveys a refusal to reduce all things to thematization. Illegibility at the level of the signifier thus occurs because Stein gestures to the writing of a nonhuman language, if such a thing is possible. The relation of objects to other objects cannot be reproduced in a human-based subject-verb-object grammar.

Thus, if objects themselves could talk, perhaps indeed their speech would sound like the subjectless segments of Tender Buttons. Of course, inanimate objects have no thoughts and no mouths, but this still does not mean that objects have no bearing on matters of concern in the world. Objects have narratives of their own, narratives not dependent on our observations and our language.

Objects themselves do not have their own intentions, but this does not mean they are entirely reducible to the realm of human intentions. Bruno Latour has discussed repeatedly how objects need not be recognized as full-fledged subjects but still perform as agents, doing things in the world. Furthermore, the stories of objects are not necessarily reducible to the normative rules of our language — hence the need for a new language and new form of communication, giving modernist form a particular mandate.

That this communication will be at least partially anthropomorphic does not defeat its relevance for representing nonhuman language. The existence of things is defined by activities and conditions such as use, disuse, juxtaposition, being out of reach, contact, breakdown, repetition, etc. Words can replicate these relations and not appear to make sense, from the viewpoint of standard grammar.

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But from the viewpoint of things, these relations, written as words, are descriptive fantasies of the world objects exist in. Stein uses so much repetition in part because this is a primary mode of existence of technical objects, especially modern machines. Indeed, there is something inhuman about repetition to begin with — computers will ponder forever the difference between a zero and a one. Yet even inanimate things speaking need not be far-fetched — modernist objects as various as newspapers, telephones, gramophones, and dolls emit language shaped partially by their material qualities as things.

If a toilet, perhaps this is the first poem ever written as an ode to toilet paper. Stein often emphasizes politeness and courteous behavior, a politesse applicable to persons and things, even in seemingly vulgar situations. Politeness is her default mode of attention to persons and things in a writing that does not decide beforehand who or what can or cannot speak.

The refusal of reference in Stein is also a refusal to make language centered on human usage.

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Modernists experimented with narrative forms that did not necessarily center on the self or the human species. Daily experience is composed of a variety of animate and inanimate interactions, many of them not directed to humans or not yet legible to the recipient. Writing that really reflects daily experience must somehow capture the simultaneous knowledge, limits of knowledge, and other forms of knowing that are not directed at us. If we talk of the perspective of the carafe according to the carafe itself, what would we say about food, which includes an animate component?

Still life art, or indeed any set of objects on a table, comprise a composition. Composition applies to things intentionally constructed or unintentionally combined, things artificial as well as natural, a landscape painting or the nutritive ingredients in a soil.

The making of 'Tender Buttons' | Jacket2

Stein composed her work out of whatever ingredients she came upon, from commonly used words, everyday objects, personal sensations, and local affairs, to major historical figures and events. These all constituted a continuous surround around her. Instead, she wrote in an aesthetics of surrounds, observing them and living in them. Letters Written to Gertrude Stein , ed. Donald Gallup New York: Knopf, , Gertrude Stein, Writings — New York: Library of America, ,