Euphony Of My Heart

‘Euphony of My Heart’ is a collection of poems covering various emotions of human life.The poems traverse across a wide horizon that holds the attention of every reader.You can easily relate to the different themes that have been wisely chosen so as to bring in a level of interest across all genres. In a simple expression of words the thoughts flow into you.Whether you talk about life,ups and downs,joyous or sad emotions all have carefully crafted in verses. Nature is also an important ingredient in quite a few of the poems.There is an element of positivity that is clearly visible in most of them. A few lines to give a glimpse: What is Love Is it a fragrance of a nurtured relationship Or the guiding force of life partners’ mentorship The pristine love of the soul sublime Or to be one with the Power Divine. Wish all the readers a joyous experience and deeply feel the EUPHONY expressed here.

About Book Yakoob Valluvangadan's "Coloured Euphony" is a treasure trove for the genuine explorers who are in pursuit of the disturbing blend of the beautiful and the misshapen. The debut collection of twenty eight poems cannot but provide the readers with a kaleidoscope of moods and themes that hints at the poet's penchant for the cute, the fragrant, the rhythmic, the lonely and the deserted.

Rohit left Kavya feeling heartbroken. And then Gautam came into Kavya’s life to save her from further tears. When Gautam came to know from Kavya about what had happened to her, he was unable to believe it. Kavya and Gautam were happy with each other until one day Rohit joined Gautam’s office. Gautam told Kavya that Rohit had joined his office but Kavya was not able to believe that such a coincidence could happen. Kavya broke up with Gautam. Ragini came to rescue Kavya and Gautam’s relationship and they got back together. Rohit fell in love with Kavya once again but she did not want to be with him ever again. Rohit’s parents’ divorce was the reason behind him being a playboy.

This volume contributes to the fields of lyric poetry and poetics (especially poetic form), aesthetics, and German literature by intervening in debates on the social functions, cognitive and emotional effects, and the value of poetry. It builds on, and moves beyond, previous theories of rhythm to tie meter more particularly to the specificities of poetic language in blending of embodied responses, cultural situations, and linguistic particularities. The book examines the German-language tradition across three centuries, arguing that the interdisciplinarity and richness of metrical theory and practice emerge in the heterogeneity of poetry and its defenders in their specific historical moments. Focusing on Friedrich Gottlieb Klopstock, Friedrich Nietzsche, and Durs Grünbein, the book contextualizes each in the metrical and aesthetic debates of his epoch, showing how questions of meter are linked with overarching poetic goals such as the relationship between form and meaning, the adaptation of the Classical past for German literature, and the ways poetry's sounds work in the body. It argues that Klopstock's, Nietzsche's, and Grünbein's metrical theory and practice offer valuable insights for thinking about the ways poetry works and why it matters.

Embark on a captivating journey with "Lavengro: The Scholar, the Gypsy, the Priest." Penned by George Borrow, this novel intertwines the worlds of scholars, Romanies, and the clergy, offering readers a rich tapestry of English life and culture. Set against the backdrop of England, this work is a testament to Borrow's literary prowess and his keen insights into society's diverse facets.

Music can answer questions that often confound more discursive modes of thought. Music takes concepts that are all too familiar, reframes these concepts, and returns them to us with incisive clarity and renewed vision. Unity is one of these “all too familiar concepts,” thrown around by politicians, journalists, and pastors as if we all know what it means. By turning to music, especially musical space, the relational structure of unity becomes less abstract and more tangible within our philosophy. Arnold Schoenberg, as an inherently musical thinker, is our guide in this study of unity. His reworking of musical structure, dissonance, and metaphysics transformed the tonal language and aesthetic landscape of twentieth–century music. His philosophy of compositional unity helps us to deconstruct and reconceive how unity can be understood and worked with both aesthetically and theologically. This project also critiques Schoenberg’s often monadic musical metaphysic by turning to Colin Gunton’s conviction that the particularity and unity at the heart of God’s triune being should guide all of our theological endeavors. Throughout, music accompanies our thinking, demonstrating not only how theology can benefit the philosophy of music but also how the philosophy of music can enrich and augment theological discourse.